Search by property

This page provides a simple browsing interface for finding entities described by a property and a named value. Other available search interfaces include the page property search, and the ask query builder.

List of results

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.)
Tabuh Lemayung + (Tabuh Lemayung was created by I Dewa Putu … Tabuh Lemayung was created by I Dewa Putu Berata, a traditional music composer whose abilities are well known globally. Currently he is the chairman of Sanggar Seni Cudamani, a non-profit arts foundation located in Banjar Pengosekan, Mas Village, Ubud which has a mission to preserve, preserve and reconstruct ancient music and dances that are almost forgotten and create many new works of art which are innovative both in the field of Balinese music and dance. Tabuh Lemayung is one of Dewa Berata's works that has received tremendous appreciation from both Balinese and foreign musicians.Lemayung was created by Dewa Berata during the 2004 General Election period. The inspiration for this work stemmed from political parties in the general election attempting to attract people's sympathy. A campaign full of promises and interests confused people, giving birth to the term "Lemayung" which has the meaning of 'uncertain feelings'. Lemayung then poured into the language of music with the parable of "little people" expressed in the weak rhythm and the ruler in a strong rhythm. All forms of differences and promises are transformed into melodies and dynamics of music that are beautiful and pleasant to hear as if to seduce and win the sympathy of the little people. But those who are observant and understanding will not be easily swayed by promises. Lemayung's musical compositions also narrate the spirit of honesty and foresight in choosing the best through out-of-the-box melodies and musical concepts.-of-the-box melodies and musical concepts.)
Tari Porosan + (Tari Porosan (2019) is inspired by Tri Sak … Tari Porosan (2019) is inspired by Tri Sakti, the power of three in Balinese Hindu philosophy. Porosan is one of the elements in canang sari, a daily offering made by Balinese Hindus to praise the Sang Hayang Widhi Wasa (God Almighty). Porosan is symbolic of the three major Balinese Hindu Gods: Siwa, the destroyer; Wisnu, the preserver; and Brahma, the creator.u, the preserver; and Brahma, the creator.)
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.)
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 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.)
Musik Puisi Suryak Siu + (This poetry music is titled Suryak Siu whi … This poetry music is titled Suryak Siu which is performed by group of young people from the Sastra Lentera Community.Lead by Ida Bagus Pawanasuta, this community succeeded in performing a very beautiful musical poetry.Singed by Sinta and Dayu Tri and musical instruments played by Ryan and Tjok Mas, their performances greatly entertained everyone in the midst of the Covid-19 pandemic.one in the midst of the Covid-19 pandemic.)
Garbha + (This work was created in 2020 as part of t … This work was created in 2020 as part of the Ubud Performing Arts festival by two young artists, Dewa Ayu Eka Putri and Ni Nyoman Srayamurtikanti.Garba was the beginning of the creation of life. A space where a micro universe is formed. The womb of women is none other than Brahman himself, the Creator of the universe.This work is dedicated to all the wombs of the universe. And to all the great women in the world.. And to all the great women in the world.)
Tabuh Telu Udahani + (Udahani's percussion is a musical composit … Udahani's percussion is a musical composition by I Dewa Putu Berata which was specially created for female musicians from Sanggar Seni Çudamani in the performance of the Bali Arts Festival in 2015 as the Gianyar Regency Ambassador.Udahani has the meaning of the ocean, this musical composition is inspired by the calm nature of the ocean but at times it can show terrible turmoil but still has its own beauty.ible turmoil but still has its own beauty.)
Tabuh Wak Jayati + (Wak Jayati was created by composer I Dewa … Wak Jayati was created by composer I Dewa Putu Rai from Pengosekan Village, Ubud. Wak Jayati comes from the ancient Javanese language Wak which means voice or sound and Jayati means women's victory. This percussion is inspired by the strength, determination and beauty of women. This musical composition aims to describe the deeper meaning of women, as creators, leaders, and protectors.men, as creators, leaders, and protectors.)
Koreografi Pose (COVID19 Dalam Teologi Hindu) + (Wanting to show another way to enjoy dance … Wanting to show another way to enjoy dance, this piece was created specifically in the Art of Photography. Featuring choreographed poses that tell the story of COVID19 in Hindu theology.Pose choreography is a photo illustration or visual depiction of a piece of writing using a photographic technique that emphasizes the relationship between the object of the photo and the text.In Hindu theology, there is no hatred of Hyang Widhi. No curses. There is a cycle. The cycle of seasons, the cycle of flowering to fruiting, the cycle that makes life and the universe move. Hyang Widhi regulates all cycles and cosmic order through the intelligence behind the motion of this universe, called rta. Rta is the "highest consciousness" that regulates the heartbeat of the universe, the breath of humans, animals, photosynthesis of plants, until the emergence of viruses and all kinds of germs that are present as part of the completeness of the universe.This work was first conceived by an academic dance artist named Ni Km. Ayu Anantha Putri S.SN., M.Sn who deliberately creates dance works that are enjoyed through photo collages telling stories. One person who has succeeded in realizing this work in the form of a photographic work is an academic photographer named Adhitya Pratama S.Tr.Sn, the sharp and at first glance like paintings are made to give a more artistic impression and prioritize color sharpness. This work does not only contain moving photo collages but is also accompanied by musical accompaniment which was created directly by an academic musician named Komang Srayamurtikanti S.Sn. Hopefully this work will get positive appreciation from performing arts lovers and be able to provide a new spectacle that is entertaining and inspiring.This work was performed by 18 women with professional dancer backgrounds. This work was made directly 1 day during the shooting process only. There is no cost for costumes, only using typical Indonesian batik cloth, batik shawls and black scarves that each dancer already has. The shooting location is at Puri Painting Ubud, Gianyar, Bali. There is no training process, considering that Covid19 has severely restricted community activities. This work was initiated 1 month before the shooting process. The dancers who have supported this work have undergone a self-quarantine process from the end of March to June 2020, so the health of the dancers is of utmost priority.alth of the dancers is of utmost priority.)
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.)
Wayang Wong + (Wayang Wong is one of the classical Baline … Wayang Wong is one of the classical Balinese theatre dances where all the dancers wear masks. Wayang Wong at Taman Pule Temple, Mas-Ubud village, takes on the Ramayana play with the main character Rama and an army of monkeys preparing to recapture his wife Dewi Sita.Pura Taman Pule is a Temple in the village of Mas, Ubud in Bali. This mask dance is unique and is only performed here in this Temple. It is not performed outside of its grounds. A set of masks of the characters from the Ramayana and Mahabharata epics are kept in the Temple.No one can say for certain where these masks originated. There are no certain records of the mask carver or how they came to be in the safekeeping of the Temple. That information perhaps has been lost as a result of conflict or war in history. ..The Sacred Wayang Wong of Pura Taman Pule is closely related to ceremonial rituals at the Temple. It is also considered ‘Pemuput Karya’. The dance indicates that the ceremony undertaken at the Temple is complete. Another such Dance is the Tari Topeng Sidakarya.r such Dance is the Tari Topeng Sidakarya.)
Cerita Perjalanan Luh Ayu Manik Mas Pahlawan Putri Bali + (When walking home after watching ogoh-ogoh … When walking home after watching ogoh-ogoh, Luh Ayu Manik and Putu Nita were surprised to see the young people falling up and running around, and screaming in fear accompanied by asking for help. "Tulung-tulung ..." shouted Wayan. There are people who can walk. the body is tall and made of all kinds of plastic and cork. Instantly Luh Ayu Manik remembered I Wayan's behavior with and I Made who liked to throw away the trash when making ogoh-ogoh into the river this morning.ing ogoh-ogoh into the river this morning.)
Cerita Perjalanan Luh Ayu Manik Mas Pahlawan Putri Bali + (Without warning, a fierce wind sprang up i … Without warning, a fierce wind sprang up in Room 21. The book that Luh Ayu Manik and her friends were reading shook and then flew about the room. And from the pages of the dirty, torn and tattered book, horrid demons appeared. Luh and her friends wanted to run away but they couldn't move ... they were like statues. I Wayan and I Made wanted to scream ... but their lips were sealed shut and they couldn't speak. were sealed shut and they couldn't speak.)
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.)

"S.o.S" Shape of the Shape + (Music Composition for Gender Wayang & Semarandana Musician: Sanggar S’mara Murti Ni Nyoman Srayamurtikanti Kadek Candy Cintya Dewi Gusti Ayu Mingguwati Ni Made Ayu Anggita Recorded by: Antida Studio)

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)
Tari Manuk Rawa + (At first, the Manuk Rawa Dance was part of … At first, the Manuk Rawa Dance was part of the Mahabharata Bale Gala-Gala Ballet. The work itself is a work made by the Mahabharata or Ramayana ballet group from the province of Bali and has been shown at the Bali Arts Festival in 1980.As time goes by, the dance is increasingly developing into a free dance that is no longer part of the ballet. The artists and dancers also began to modify this dance movement to be more interesting by combining several movements from dances typical of the Sundanese and Javanese regions.Manuk Rawa dance has a unique philosophical meaning. This dance describes the behavior of manuk or in Indonesian means birds that live and fly around areas full of water or swamps.The story of this bird is taken from the story of Wana Parwa from the Mahabharata Epic, and is famous for its luxurious and distinctive storytelling style. Manuk in the story is illustrated as a cheerful and fun animal. Because of the cheerful nature of the dance, this dance is then more often danced by a group of children or young women.Its movements imitate the movements of birds flying, and jumping in the swamp. This dance also has a distinctive movement of the neck, the dancer will move the neck like nodding, imitating the movement of a bird's head. The dancer's leg movements are also very agile, jumping here and there with an expression full of firm eye movements.This dance costume is also characterized, the dancer will wear a kind of cloth in the form of a wing that is installed around the dancer's shoulder. The costumes also wear bright colors and headdresses or called gelungan in the shape of a bird's head. Until now this dance is still often performed at various events and competitions.formed at various events and competitions.)
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.)
Barong Brutuk + (Barong Brutuk is the embodiment of Bhatara … Barong Brutuk is the embodiment of Bhatara Ratu Pancaring Jagat in Trunyan village of which there are 21 people. The faces of the barongs resemble primitive masked faces with large white or brown eyes and are thought to be relics of pre-Hindu culture. Barong Brutuk is danced by male dancers taken from members of the truna sekaa in Trunyan village. Before dancing the sacred barongs, the cadets must go through a process of sacralization for 42 days. They lived in the vicinity of Bhatara Datonta and every day was tasked with cleaning the temple grounds and learning an ancient song called Kidung. During the sacralization process, the cadets were forbidden to have contact with the women in their village.Another activity carried out during the purification process is collecting banana leaves from Pinggan village which are used as clothing for the Brutuk dance. The banana leaves are dried and then knitted with peeled rope (banana tree) into a kind of skirt that will be used by Brutuk dancers. Each dancer uses two or three sets of clothing made of banana leaves, some of which are hung around the waist and partly on the shoulders, under the neck. Brutuk dancers use panties which are also made from banana tree rope.The Barong Brutuk performance is staged at noon just as the Odalan Day begins at Ratu Pancering Jagat Temple. Usually the Brutuk ceremony lasts for 3 days in a row starting at 12.00 noon and ending around 17.00 pm. The Brutuk dancers wear dried banana leaves and headdresses made of coconut leaves; One serves as King Brutuk, one functions as the Queen, one functions as Patih, one serves as the Queen's older brother, and the rest are regular members. The Brutuk dance illustrates the concept of a dichotomy in the life of the Trunyan community, namely two groups of people, men and women.The Brutuk ceremony begins with the appearance of member-level embodiments. They circled the temple walls three times each while waving whips to the audience participating in the ceremony. The audience attending the ceremony began to approach the Brutuk dancers to pick up the loose banana leaves which they would use as a means of fertility. The spectators who managed to get the banana leaves from Brutuk's clothes would keep them at home and then spread them out in the rice fields when they started planting rice. They expect a successful harvest.The last stage of the ritual performance begins in the evening, led by a pemangku (holy man), the women bring new offerings to be presented to the King and Queen Brutuk. When the offerings have been offered, the King and Queen dance together, while the other Brutuks and the audience just watch. A pair of Kings and Queens dance an ancient move, which imitates the behavior of a wild partridge. The King as keker (rooster) and the Queen dances as kiuh (hen). There are many wild partridges in the area around Trunyan. They pop their heads, swoop, peck and move their hips, claw at the ground and make sudden attacks on each other while flapping their wings. Movements such as cock fighting or flying. At the time of sandya kala, the dancers walk down to Lake Batur. Brutuk men with red masks, take a position by lining up behind the King, while masked dancers women line up opposite them, behind the Queen. The love dance of the King and Queen continued for about half an hour, while the male and female Brutuks continued to line up. Only the Patih and the brother of the Queen Brutuk remained active, they continuously whipped their whips at the audience.The dance of the King and Queen Brutuk ends with the movement of the Queen flying and crossing a line marked with a banner. All Brutuk then cheered when the King flew trying to pounce on the Queen. The King immediately caught him and embraced the Queen. At that moment the youths who became Brutuk, cheered in unison, as they ran into the water and threw themselves. There they stripped the remnants of the banana leaves that became their clothes, swam and had fun unwinding. Their costumes were left afloat, while their masks were picked up by older members of the tribe who descended to the shore of the lake to provide assistance. After that the dancers and the audience separated for dinner after all the celebratory activities were over. all the celebratory activities were over.)
Tari Belibis + (Belibis dance is a new dance creation from … Belibis dance is a new dance creation from Bali which is included in the group dance category, because it involves more than three dancers. This dance was created in 1984, the choreography was done by N.L.N Swasti Wijaya Bandem and the music was composed by I Nyoman Windha.This dance functions as an entertainment dance that emphasizes the artistic aspect, choreography, and is presented with a clear theme and purpose. In accordance with the title of the dance, this dance depicts the beauty of a group of grouse birds enjoying the natural surroundings.Meanwhile, the theme takes the story of Anglingdharma. The story in the Tantri story, mentions that the king of Anglingdharma was cursed to become a grouse by his powerful wife.It is said that the king of Anglingdharma who has turned into a grouse wanders and meets a group of other grouse. Feeling attracted by the cheerful atmosphere of the grouse group, he tried to join in order to be accepted as part of the group.Unfortunately, because the bird (Anglingdharma) is able to talk like a human, the other birds then know that he is a cursed human, so they reject him. The flock of birds went and left the king in solitude. birds went and left the king in solitude.)
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.)
Gender Geria Bungsu + (Gender)
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.)
Mengolah Sampah Plastik menjadi Lukisan yang Indah + (In this project, there are a lot of messages that we can take. For example, making a painting that, although only made of plastic, can be used as an item that is useful and of high value.)
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.)
Kenapa Legong JAPATWAN + (Japatwan's 'Why Legong' dance is the work … Japatwan's 'Why Legong' dance is the work of an extraordinary Balinese female choreographer Ida Ayu Wayan Arya Satyani. This work was created as a manifestation of his admiration for the creation of the Legong dance, both for the complexity of the technique or for the timelessness of the Legong dance. Japatwan dance is also a way for Dayu Ani to contemplate the process of creation that she has gone through. As well as a way to objectify her dream to exploring the body. The extent to which body exploration can be carried out, how the body respects its body and soul, navigates emotion or responds to shackles, questions about tradition or modern, ignores male or female gender, because dancing is not about gender, but is soul. The soul that appears through the body, whether he is male or female, to bring out the true character.Japatwan was inspired by the Japatwan text geguritan which tells the adventures of Gagak Turas and Japatwan when following Ratnaningrat to Shiva Loka, Japatwan also describes the essence of literature in human life. Knowledge (jnana) that should be embodied in order to always meet good karma. The beginning of the story of the journey was the loss of Japatwan who was left by Ratnaningrat, his beloved wife "sakeng ngredani". Ratnaningrat is a grace from Dewa Indra who apparently was sent to test Japatwan's intelligence in carrying out his abilities and knowledge regarding "the entry and exit of the soul in the body, the path to kamoksan (liberation)".In a matter of seven days after the joyous period of marriage, Ratnaningrat returned to Indraloka, supposedly to ‘ngayah ngelegong’. In the gaguritan chant, and the nuances of palegongan drum music, hopefully this simple dance gets the beauty of the story that has been poured by the writers in gaguritan texts. poured by the writers in gaguritan texts.)
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.)
Legong Pawisik + (Legong Pawisik was created by choreographe … Legong Pawisik was created by choreographer I Nyoman Cerita and composer I Dewa Putu Berata in Sanggar Seni Çudamani. Pawisik is a sign that the universe whispers to humans about the past, present and future. Pawisik provides an opportunity for humans to understand the natural surroundings. A knowledge that if deeply understood will make humans realize that they are only a small part of the universe. That everything is bound and intertwined with one another.is bound and intertwined with one another.)
"S.o.S" Shape of the Shape +
Tari Panyembrama + (Panyembrama is a welcoming dance that is s … Panyembrama is a welcoming dance that is still known today. This dance is also often the basic dance and the very first dance that is learned by children who are just starting to practice Balinese dance. Panyembrama comes from the word sambrama which means welcome, this dance is performed when there are official events to welcome guests, and is also often performed during ritual ceremonies. At first this dance was a complementary dance offering before the Sanghyang or Rejang Dance which was performed at a temple in Bali. At first glance, the Panyembrama dance looks similar to the Gabor Dance and Pendet Dance, but what distinguishes it is the variety and variety of movements. Panyembrama dance also uses the bokoran property which contains various kinds of flowers and oncer (coconut leaves shaped in such a way that it looks beautiful and artistic). This flower will be sprinkled in front of guests and spectators as a symbol of welcome. This dance was created by the late. I Nyoman Kaler and musical composition by the late. I Wayan Beratha in the early 70s and was first shown in 1971.the early 70s and was first shown in 1971.)
Pendet Swastiastu + (Pendet Swastiastu dance is a special welco … Pendet Swastiastu dance is a special welcome dance with jegog music, a unique bamboo orchestra from Jembrana, West Bali, created by Deniek G. Sukarya for Sanggar Seni Sukarya. Composer: Deniek G. Sukarya, choreographers: Putu Adi Arianto and Wayan Sumindra. The dance is choreographed in 2 parts: the first part as the welcoming dance to greet important guests at the gate of the ceremonial hall, and the second part, performed on stage to welcome guests with graceful dance and singing to welcome and wish them all well.singing to welcome and wish them all well.)
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.)
Sandaran Lelangit + (Sandaran Lelangit is an instrumental piece … Sandaran Lelangit is an instrumental piece that is inspired by the classical style music of Banjar Intaran, Sanur. Sandaran is another name for Telek, a manifestation of God in the form of a mask that is performed on every odalan, temple ceremony. Literally, Sandaran can be interpreted as a place to lean on, while Lelangit is a term to mention the ancestors worshiped by the Balinese. Sandaran Lelangit has the meaning of a place for the ancestors to 'lean' during the ceremony. In a musical context, this work tries to present a magical and aesthetic atmosphere at the arrival of the ancestors during the ceremony. The strains of classical melodies with the typical ornamentation of the classical Sandaran melody are the main choice. Sandaran Lelangit is a re-interpretation and re-format of classical musical instruments that developed in Sanur, Bali.instruments that developed in Sanur, Bali.)
Satya Brasta + (Satya Bharasta is a tari kreasi (composed … Satya Bharasta is a tari kreasi (composed and choreographed by the renowned I Nyoman Cerita) for six male dancers. This dance portrays the battle between Karna, the viceroy of Awangga and ally of the Kurawa; and Gatotkaca, the flying son of the Pandawa brother Bima of the Mahabharata. Due to unusual circumstances surrounding Gatotkaca's birth, it was foretold that he would die by a special arrow called Konta Wijayakusuma, which Karna possesses. The dance features a rather ingenious formation of Karna's chariot, complete with wheels (via rotating temple umbrellas or pajeng) and a bucking horse. The dance ended with the death of Gatot Kaca by Konta Wijayakusuma.death of Gatot Kaca by Konta Wijayakusuma.)
Tari Sekar Jepun + (Sekar Jepun dance is a dance icon from Bad … Sekar Jepun dance is a dance icon from Badung Regency, Bali. The Japanese Sekar dance was composed by Ida Ayu Wimba Ruspawati, SST., M.Sn and the musical composition was composed by I Wayan Widia, S.Skar. Sekar Jepun dance tells about the beauty of Jepun or frangipani flowers with various shades of colors and shapes.The Jepun flower is one type of flower that is very important for the Balinese because it is widely used as a means of ceremonies and as a means of prayer for Hindus. Jepun flowers have a fragrant aroma and have a variety of colors, ranging from white, red, purple and yellow. In Bali this tree can be found in every Balinese house, often decorating the streets of villages and cities. In Badung Regency itself, Jepun trees are very easy to find along the road, when this tree blooms the beauty of this area will appear, that is the reason Sekar Jepun is made the mascot of Badung Regency.epun is made the mascot of Badung Regency.)
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.)
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.)