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The forest has been laid bare. The trees have been cut down and the wood taken away. Luh Ayu Manik and her friends are deeply saddened to see the forest destroyed. There is a police post in the middle of the forest but, despite this, the thieves are still able to steal wood. Luh Ayu Manik and her friends have come up with a plan to catch the thieves. But unfortunately, their plan has been foiled. And now the thieves are chasing them with a chainsaw. What will happen to Luh Ayu Manik and her friends? +
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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 keys
4. 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 kopyak
20. Two small suling and eight big suling
21. 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.
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. +
Garuda Wisnu Kencana menceritakan tentang perjuangan Dewa Wisnu (Dewa Wisnu) yang dibantu oleh burung Garuda sebagai tunggangannya untuk merebut Tirta Amerta (air kehidupan) melawan kekuatan raksasa. Melalui perang yang sangat mematikan, Tirta Amerta dapat direbut oleh Dewa Wisnu. Tirta Amerta kemudian digunakan untuk mempertahankan kehidupan. +
"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 fans +
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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. +
