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From BASAbaliWiki
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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. +
Sekar Jepun is a piece of pure music. After the
orchestra has entered, the reong twice commences an
improvisation. After this, the gangsa ensemble
decorates the melody announced by the flute.
Sekar Jepun is a fairly recent composition. The
interpretation by the gong kebyar of Peliatan is
especially notable for the extreme precision of the
attacks and the wide range of nuances. +
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.
This piece tells about death, which is always next to us. It's the final gate, but it is also a door to a new life. +
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. +
Swasti Prapta is a dance piece created by choreographer Dewa Ayu Eka Putri from Banjar Pengosekan, Mas Village, Ubud with composer I Putu Swaryandana Ichi Oka from Banjar Sayan, Ubud, Gianyar. This dance piece was created in 2018 and was first performed at the Cudamani Festival which is held annually from 2016.
Swasti means "peaceful" and prapta means "arrival". The piece is an expression of welcome, and was created to welcome and bring joy to goodness from all directions. The movements are simple, but filled with meaning, a quality one needs as one faces lifes many different experiences. The harmonious and dynamic melodic arrangement indicate our readiness and alertness to receive new experiences. Symmetrical and asymmetrical are side by side, and of course, goodness does not always stem from the positive. Good things and important lessons can come from experiences that are painful and difficult. Swasti Prapta, welcome all experiences. +
T
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. +
