Gendhing Bonang TUKUNG, Pelog Barang
Lancaran NYI GEMI RARAS, Pelog Barang
Ladrang WILUJENG, Pelog Barang
The evening opens with three welcoming pieces performed by the Melbourne Community Gamelan. The first, Tukung is played in the loud gendhing bonang style and is often used to accompany guests as they arrive at a celebration. This is followed by Nyi Gemi Raras, composed by Poedijono and named after the set of gamelan instruments being played this evening. Finally, Wilujeng, whose name means ‘safe, secure,’ reflects the feeling we hope will be engendered by this evening’s performance.
WELCOMING COMMENTS
IBING LENYEPAN naek PONGGAWA ~ Michael Ewing, dancer
Ibing Keurseus are dances designed to teach the basic movement vocabulary and feeling of the classical Sundanese dance tradition. They were codified in the early 20th century from of the more free-spirited tayuban style of social dancing. Lenyepan represents a refined, meditative character. When the music quickens and the dancer adjusts his scarf, the dance shifts to the more assertive Ponggawa. Choreography: Abay Subardja.
TOPENG TUA ~ Brett Hough, dancer
Bali has several forms of mask dancing. One of the most popular is Topeng in which stories based on Balinese dynastic chronicles (babad) are portrayed via several characters. Topeng Tua (the old man or the aged courtier) is a character who always appears as one of the introductory masks in a Topeng performance. Although the characterisation can be either dignified or somewhat comic depending on the character of the mask it is usually an affectionate portrayal of old age.
TARI TOPENG KLANA ~ Michael Ewing, dancer
Accompaniment by Gamelan Topeng Cirebon, Lagu Sarung Ilang, laras prawa. Cirebon, on the north coast of Java, is home to a wide range of distinctive art forms, including Tari Topeng or masked dancing. A traditional Topeng performance includes a series of different character types, each represented by a distinctive mask. Tonight we present the last and strongest character in the series, Klana, a noble king who has allowed himself to go mad with lust and greed. Choreography: Sujana Arja.
INTERVAL
The Indonesian Forum invites the audience to enjoy an Indonesian dinner in the foyer
BEKSAN TOPENG GUNUNGSARI ~ Vi King Lim, dancer
Accompaniment by Melbourne Community Gamelan, Ladrang Gunungsari, Pelog Nem. This dance is from Surakarta, Central Java. This character is Gunungsari, a noble prince who is awaiting the return of his beloved princess. The dance depicts his state of infatuation with her as he vacillates between sadness at her absence and excitement at the idea that she might return unexpectedly.
WAYANG MBELING: THE NEXT GENERATION ~ Marshall Clark, puppeteer
Accompaniment by Melbourne Community Gamelan: Talu: Ketawang Megatruh, Ayak-ayakan, Srepegan, Sampak, Pelog Barang; Srepegan Pelog Lima; Srepegan Pelog Nem; Lagu Dolanan Menthok-Menthok Pelog Nem. Additional voices: Poedijono, Helen Pausacker, Ria Soemardjo. Wayang mbeling (mischievous wayang) refers to parodic wayang shadow theatre narratives, which first appeared in the Indonesian mass media in the early 1980s. The divergent or subversive nature of wayang mbeling is suggested by the fact that, in Javanese, beling denotes a shard of glass. This meaning has also taken on the connotation of witty playfulness or mischievousness. In terms of modern Indonesian literature, the word mbeling has been associated with Remy Sylado's puisi mbeling [anti-Establishment poetry], poetry that subverts the status quo. Inspired by Ayu Utami's best-selling novel, Saman (1998), this wayang performance will feature what can be arguably considered as the post-New Order generation of wayang superheroes: Gatotkaca, Wisanggeni, Dewi Pregiwa and Cakil.
Lancaran RICIK-RICIK, Pelog Barang
This concludes the formal concert and this simple, lively piece is being played tonight to accompany those of you who wish to depart now.
WORKSHOP
Audience members who wish to stay are invited to join Poedijono and the Melbourne Community Gamelan and try their hand at playing Ricik-Ricik.
The Indonesia Forum
Formed in 1991, the Indonesian Forum is an informal and open network of academics and administrative staff of the University of Melbourne who share a common interest and professional involvement in Indonesia.
Gamelan
Gamelan music is among the most well know of the hundreds of traditional performing art forms found among the cultures that make up the Republic of Indonesia. The term gamelan refers to the entire set of instruments as well as to the music played on them or the group who plays them. The most popular form of gamelan in Central Java today is that associated with the refined cultural traditions of the royal courts. Part of the blending of traditions that is the hallmark of modern Javanese culture, gamelan music can be heard at Islamic events such as the celebration of the Prophet Mohammad’s birthday, in the all night wayang kulit shadow theatre which recounts episodes from epic Hindu legends, and as accompaniment to a variety of classical and popular dance forms. Gamelan is important in both formal ceremonies and popular entertainment and performances of gamelan are an integral part of many auspicious occasions.
The Melbourne Community Gamelan
The members of the Melbourne Community Gamelan come from diverse backgrounds but have been brought together by their love of gamelan and have been studying and performing for a number of years under the direction of Poedijono. We would like to express our thanks to Dr. Cathy Falk and to the University of Melbourne Faculty of Music for their support of Indonesian performing arts in Australia, and for allowing us to practice and perform on the beautiful set of instruments used today.
The Performers
Poedijono was born in Wonogiri in Central Java. He learned gamelan and wayang from his father and studied at the Music Conservatory in Solo. He then taught at the Music Conservatory and the Indonesian Dance Academy (Akademi Seni Tari Indonesia) in Denpasar, Bali for ten years, before coming to Melbourne. Poedijono has taught gamelan at Monash University and the University of Melbourne. He has also been instrumental in establishing numerous gamelan groups across Australia. He performs dance and wayang in Melbourne, interstate and overseas. He also teaches three community groups, including the Melbourne Community Gamelan.
Marshall Clark teaches Javanese shadow theatre as well as Indonesian language and literature at the University of Tasmania. He has just completed writing his PhD thesis, which is entitled "Wayang Mbeling: Indonesian Writers and the Javanese Shadow Theatre", at the Australian National University.
Michael Ewing has been a student of Indonesian language, culture, and art since beginning his undergraduate study in anthropology at the University of California, Santa Cruz. During postgraduate study in linguistics at the University of Hawai`i and the University of California, Santa Barbara, he maintained his interest in the arts and studied various West Javanese gamelan and dance styles in Bandung and Cirebon during numerous field trips to Indonesia. He has taught gamelan and dance in the United States and has performed in a variety of concerts and festival there, in Indonesia, and in Australia. He currently lectures in Indonesian Studies at the University of Melbourne and has started the Gamelan Topeng Cirebon there.
Brett Hough teaches Anthropology at Monash University specialising in the ethnography of Bali. He has long had a fascination with the performing arts of Java and Bali in particular the vibrant topeng tradition of Bali. He studied topeng with I Ketut Kantor in the village of Batuan as part of his PhD research on the College of Indonesian Arts during 1990-91. He has returned to Bali on several occasions since then to continue his research on the performing arts.
Vi King Lim was born in Malaysia and later immigrated to Australia, where he began playing Central Javanese gamelan music in 1992 while completing a Bachelor of Music degree at the University of Sydney. He was awarded a University Medal and subsequently received a scholarship from the Indonesian Government to study Javanese performing arts in the city of Surakarta, a renowned centre for Central Javanese culture. From 1995 to 1997, he was able to deepen his knowledge and skills in the performance of gamelan music, dance and costume through extensive study at the royal courts, at STSI (National School of Performing Arts), and in the wider community. Upon his return to Sydney, he became Director of Langen Suka Sydney Gamelan Association, one of Australia’s premier Javanese gamelan ensembles and has been teaching and performing with the group to this day.
Melbourne Community Gamelan Musical Director: Poedijono
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Michelle Abbott Michael Ewing Linda Hibbs Tata Kristanta Henny Kwee Arthur Lipscombe Robert McMullen Keith Morgan |
Helen Pausacker Poedijono Christobel Say Ria Soemardjo Nick Thieberger Matthew Watts Kristopher Williamson Ilona Wright |
Gamelan Topeng Cirebon Musical Director: Michael Ewing
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Dyah Adi Michelle Abbott Linda Hibbs Helen Pausacker |
Poedijono Peter Tasker Kristopher Williamson Veronica Witteveen |
Stage manager: Lynn Dean
Lighting and sound: Peter Tasker, and Bart Powers
The Indonesia Forum would like to thank the following for their help with tonight’s performance : Janene Byrne, Cameron Darragh, Charles Coppel, Hilary Fairlie, Dion Hallpike, Putra Kosasih, Kate McGregor, Karina Noontil, Liz Oley, Hugh O’Neill, Atid Paige, Nani Pollard, Thomas Reuter, Mark Richardson, James Spence in addtion to Halal Java Catering and the Indonesian Program of the Melbourne Institute of Asian Languages and Societies for administrative assistance and sponsorship of Marshall Clark.
This event is being held in conjunction with the “Autonomy and Disintegration in Indonesia” organised by the Melbourne Indonesian Consortium, 7-8 July’ ASAA Indonesia Council’s Open Conference, 10-11 July; and the Australian Society for Indonesian language Educators’ Conference 10-12 July 2001
Melbourne Community Gamelan
PO Box 4412
University of Melbourne
Parkville, VIC 3052
melgamelan@hotmail.com