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Selasa, 24 Juli 2007

SUNDANESE MUSIC


Sundanese Music

The notes on this page are derived primarily from my article on Sundanese music in The Garland Encyclopedia of World Music, volume 4 (Southeast Asia). Fortunately for those interested in Sundanese music, a growing number of resources has made exploration easy. These resources include Henry Spiller's Gamelan: The Traditional Sounds of Indonesia, Andrew Weintraub's Power Plays: Wayang Golek Puppet Theater of West Java, my own The Sound of the Ancestral Ship: Highland Music of West Java, and Wim Van Zanten's Sundanese Music in the Cianjuran Style. Those are just the books! You can also find our articles in the Asian Music Journal, Ethnomusicology, The World of Music, Oideion, Balungan, Asian Theatre Journal, and The Yearbook for Traditional Music.

The Sundanese are Indonesia's second largest ethnic group. They live in the province of West Java (also called "Sunda" by many foreigners), encompassing the interior highlands, the coastal areas, and Cirebon, a culturally distinct region. The boundary between West and Central Java lies at the eastern foothills of the Priangan Highlands, and a wide band of west-central Java from north to south incorporates cultural elements from both West and Central Java. Those who consider themselves ethnically and politically Sundanese speak Basa Sunda in addition to Bahasa Indonesia (the national language), and most Sundanese are Muslims. When the Sundanese refer to their performing arts, they are careful to describe what they call khas Sunda -- that which is characteristically Sundanese -- a designation that bears a sense of regional identity.
Sundanese Gamelans

A large proportion of Sundanese music is performed on gamelans, sets of bronze or iron instruments supported by carved wooden racks. A Sundanese gamelan usually consists of a core group of metallophones (saron), horizontal gong-chime sets (bonang), vertically suspended gongs (go'ong), and a set of barrel drums (kendang). Other features, including xylophones, aerophones (flutes or oboes), a bowed lute, and vocalists, are included according to the type of ensemble. Pieces for gamelan are normally organized in cycles, with the ending of each cycle marked by the low pitch of the go'ong. These cycles may be played many times in a single piece. The drummer demarcates the cycle by outlining specific patterns; he also acts as the timekeeper, coordinator, and controller of dynamics. Gamelans in West Java encompass a variety of types, from the ubiquitous five-tone gamelan saléndro to the rare seven-tone gamelan pélog, the multi-laras (multiple-tuning) gamelan of Asep Sunandar Sunarya, and the five-tone gamelan degung. Gamelan saléndro is used in instrumental performance, and as the accompaniment for a solo female vocalist, a dance, or the Sundanese three-dimensional rod-puppet theater (wayang golèk). In addition to the standard instrumentarium of metallophones, drums, gong chimes, and gongs, it includes a bowed lute (rebab) and usually a female vocalist. It is versatile and can be played in nearly any context, particularly at important social events, like weddings, ritual feasts, and neighborhood celebrations. Gamelan degung is the other primary Sundanese gamelan; in addition to the usual instruments, it also includes a set of six hanging gongs (degung or jenglong), which gives the ensemble its name. Gamelan degung is frequently used for weddings, and shifted during the latter half of the 20th century from an instrumental ensemble performed primarily by men to one in which the ensemble serves as accompaniment to female singers. In addition, the new repertoire of pieces is less challenging to perform. Women now dominate the performance of gamelan degung, with the exception of the kendang (drum) and suling (bamboo flute), which are still always played by men.
Bamboo Ensembles

The three main types of Sundanese bamboo ensembles are angklung, calung, and arumba. The exact features of each ensemble vary according to context, related instruments, and relative popularity. Generally speaking, bamboo instruments do not have a strong market in the recording industry. Angklung is a generic term for sets of tuned, shaken bamboo rattles. It is found in many other places in Indonesia, but its greatest variety occurs in Sunda. It can use many players of tuned, shaken rattles, a single tarompet (double-reed oboe) player, and a set of four drummers playing conical drums (dog-dog). Angklung rattles are played in interlocking patterns, usually with only one or two instruments played per person. The ensemble is used in Sundanese processions, sometimes with trance or acrobatics. Performed at life-cycle rituals and feasts (hajat), angklung is believed to maintain balance and harmony in the village. In its most modern incarnation, angklung is performed in schools as an aid to learning about music. Like those in angklung, the instruments of the calung ensemble are of bamboo, but each consists of several differently tuned tubes fixed onto a piece of bamboo; the player holds the instrument in his left hand and strikes it with a beater held in his right. The highest-pitched calung has the greatest number of tubes and the densest musical activity; the lowest-pitched, with two tubes, has the least. Calung is nearly always associated with earthy humor, and is played by men. Arumba refers to a set of diatonically tuned bamboo xylophones, often played by women. It is frequently joined by modern instruments, including a drum set, electric guitar, bass, and keyboards.
Zither Ensembles

The Sundanese zither (kacapi) often serves to represent Sundanese culture. It plays as either a solo or an ensemble instrument, associated with both villagers and aristocrats. The instrument may take the form of a boat in tembang Sunda, or the form of a board zither in kacapian. It is sometimes drastically modified to include more strings, electric and electronic devices, and various styles of playing. Pantun is a genre of Sundanese epic narrative, most often performed by a blind male vocalist who accompanies himself on the kacapi. The performance of pantun usually occurs as part of a ritual Sundanese feast, and can last for most of the night. Tembang Sunda is a type of sung poetry developed in the regency of Cianjur in the late 1800s. Its topics include Sundanese history, aspects of nature, mythology, romance, heroic figures, and tragedies. In performance, one or more singers are accompanied by an 18-string zither (kacapi), a smaller, 15-string zither (rincik), and a 6-hole end-blown bamboo flute (suling). Tembang Sunda is traditionally performed in the evenings for the descendents of the Sundanese aristocracy. Kacapi-suling developed during the 1970s as an instrumental offshoot of tembang Sunda, using the same instruments by without the vocalist. In a typical performance (still primarily in recordings, as kacapi-suling is rarely performed live), the kacapi player outlines a cyclic structure of a song and the suling player improvises a melody based on the original song from the tembang Sunda repertoire. Kacapian refers to a flashy style of playing a board zither, and it is known as one of the sources of Sundanese popular music. It can be accompanied by a wide variety of instruments, and can be played instrumentally or as the accompaniment to either a male or female vocalist.
Popular Music

For decades, the Sundanese have enjoyed performances of locally created popular music. In addition to nationally popular genres, such as dangdut and kroncong, the Sundanese have developed a unique regional style, pop Sunda. It began as a Sundanese musical imitation of American and European popular music played on Western band instruments, with performances in diatonic tuning and singing with a heavy, operatic vibrato. The language, Basa Sunda, was almost the only factor indigenous to the area. In the 1980s the Sundanese composer Nano Suratno reshaped pop Sunda to include performance in the pélog tuning system; he created a large number of hit songs that used traditional ensembles like gamelan degung, and successfuly blended pop music with Sundanese traditional music. Since that time, pop Sunda has come to re-incorporate Western rock and pop instrumentation, and local composers and performers have explored many genres of popular music, including reggae and rap.


KACAPI SULING & KAWIH (from; http://sabilulungan.org/?q=KacapiSuling )

This style of zither-ensemble was developed in the late 1970s and into the 1980s. Centered on the city of Bandung, this renewed vitality led to the nation-wide (and world-wide) popularity, together with other genres like jaipongan.

Kacapi Suling is usually played at interludes between songs in a performance of the classical song-form Tembang Sunda. The term refers to the two plucked string instruments and the flute. There is a higher-pitched kacapi rincik, a lower-pitched kacapi indung and the suling ornamenting the melody. During a dinner-to-dawn house concert of Tembang Sunda, instrumental pieces like these would offer light interludes between the weightiness of the songs. The pieces of songs are available in three scales. Laras pelog, conveying a lighter mood. Laras sorog, a more somber mood. And laras Salendro, conveying a happier mood. [1]

The Sundanese zither (kacapi) often serves to represent Sundanese culture. It plays as either a solo or an ensemble instrument, associated with both villagers and aristocrats. The instrument may take the form of a boat in tembang Sunda, or the form of a board zither in kacapian. It is sometimes drastically modified to include more strings, electric and electronic devices, and various styles of playing. In performance, one or more singers are accompanied by an 18-string zither (kacapi), a smaller, 15-string zither (rincik), and a 6-hole end-blown bamboo flute (suling).

In a typical performance, the kacapi player outlines a cyclic structure of a song and the suling player improvises a melody based on the original song from the tembang Sunda repertoire. Kacapian refers to a flashy style of playing a board zither, and it is known as one of the sources of Sundanese popular music. It can be accompanied by a wide variety of instruments, and can be played instrumentally or as the accompaniment to either a male or female vocalist.

JAIPONGAN


Dr. Gugum Gumbira Tirasondjaja, often known just as Gugum Gumbira, is a Sundanese composer, orchestra leader, choreographer, and entrepreneur from Bandung, West Java, Indonesia.


Jaipongan

In 1961, Indonesian President Sukarno prohibited rock and roll and other western genres of music, and challenged Indonesian musicians to revive the indigenous arts. Gugum Gumbira took up the challenge, and studied rural dance and festival music for twelve years. Jaipongan, or Jaipong, was the most popular result of his study, derived from the updating of a village ritual music called ketuk tilu, with moves from Pencak Silat, the Indonesian martial art, and music from the masked theater dance, Topeng Banjet, and the Wayang Golek puppet theater.

In the original ketuk tilu, the group typically consists of the ketuk tilu pot-gong, other small gongs, a rebab (spike fiddle), barrel drums, and a female singer-dancer (ronggeng) who is often also a prostitute, who invites men to dance with her sensually. Gugum expanded the drum section as part of an urban gamelan orchestra, sped up the music, redefined the singer as just a singer (sinden), and came up with the catchy onomatopoeic name. Many listeners consider the music very complex, with the dynamic rhythm liable to change seemingly randomly.

Jaipongan debuted in 1974 when Pak Gugum and his gamelan and dancers first performed in public. Sporadic government attempts to suppress it due to its perceived immorality (it inherited some of the sensuality of ketuk tilu) just made it more popular. It survived even after the official Indonesian ban on foreign pop music was lifted after a few years, and became a craze in the 1980s. Since the mid-1980s Jaipongan’s importance as a social dance has waned, but it remained popular as a stage dance, performed by women, mixed couples or as a solo.

The most widely available album of Jaipongan outside Indonesia is "Tonggeret", featuring singer Idjah Hadidjah and Gugum Gumbira's Jugala orchestra, released in 1987, and re-released as part of "WestJava: Sundanese Jaipong and other Popular Music", by Nonesuch Records under their Explorer Series label.



Jugala

Gugum Gumbira's Jugala Studios in Bandung serves as the base for his own Jugala orchestra and dance troupe, and has hosted and recorded many other musicians, including Sabah Habas Mustapha, and The Residents.

The Jugala orchestra includes Sundanese gamelan instruments, drums, rebab and suling flute, and plays Jaipongan and contemporary degung music.
===============

From; http://www.goarchi.com/archo/provinces/w-java/w-jmag/jaWJ.html

In the short space of twenty years West Java has seen the birth of a dance form which is already "traditional". It is an interestign comment on the cultural adaptation of the Indonesian people.

Much is written on the "demise" of culture but very little is written about the "birth" of new forms.

Jaipongan is an excellent example of the virility of the Indonesian people and their culture and the way in which cultural change takes place with a natural momentum.


The musical arts of Sunda include some of the most beautiful sounds in the world. The gamelan Sunda, the gamelan degung, the Kecapi with either suling (flute) or vocal accompaniment all provide moments of rare musical beauty. The Kecapi, when played as a solo instrument using the sorog scale can emulate the "koto" of Japan and rival it in beauty.

This is the story of the birth of a dance form. Culture is the way in which people live and interact by mutual agreement. Dance and music are expressions of the emotions of a culture. The performing artist has the role of expressing the artistic and aesthetic elements from within the community. He expresses his creativity through performance and the community accepts this by showing interest and appreciation. Three factors make a performance; the performer - the performance - the appreciation of the audience. The rewards of performance are gained through the design (choreography) and creativity of the performer.

There was a boy who lived in Sunda. His father was a Silat enthusiast, that is to say he specialised in the Indonesian form of the martial arts. Often martial arts performances are presented with a musical accompaniment. The boy's mother played the Kecapi, a zither commonly found in Sunda. As a young child, Gugum was already familiar with both the traditional music of his homeland and the sophisticated control of the body which his father demonstrated. His family environment was one where music and movement combined to influence his outlook for the future.

At school Gugum was introduced to a new world of sound which included the western diatonic scale. He warmed to this and by the time he had entered high school he had joined the band and begun his career as a musician. Then came a directive from above which said that western style music was no longer to be used in schools and that there should be a concentration on the local culture. Gugum became more interested in Sundanese instruments and culture during his last years at high school and continued this interest as he studied accountancy and administration at university.

As he grew older he looked around him at the traditional forms of music and dance in Sunda. He was a young and virile man. He wanted to move. He wanted to express his vigour. Within the range of cultural dances available to he there was nothing which he felt allowed him to express what he wanted to say. The dances were too slow and constrained to allow the movements of the impetuous young man, expression. Dance must be rhythmic and beautiful. A universal element is that it allows individual expression. It is also a social art as the performance must relate to its receiving culture in order to be appreciated.

Between the years 1971 and 1974 Gugum continued his search fro a performance model which would interest his peers. He read many books and talked to many people about the problem. He decided that the answer lay in making his own dance. He worked on a scenario for body movement. He came to the conclusion that there should be room for the dancer to express the feeling of the moment, that is, room for improvisation as part of the dance scenario. A dynamic dance which also reflected the mood of the society.

Jaipongan is a social dance for young people. It differs from other dances of this type in that it demands certain standards from the dancers, in fact, the following of the basic choreography is very important.

First and foremost it is a performance which has its own choreography, musical accompaniment and a style which not all performers will be a able to achieve. It requires the skill gained from courses in dancing this particular dance and therefore demands a higher level of interest than normal.

Having settled on the basic dance form Gugum now had to translate the music from his mind into sound. He looked for a musician. He selected a man, younger than himself, to play a drum accompaniment. The first quality he looked for in his accompanist was the same vigour which he wished to express in the dance. The drummer he chose liked the limelight. He did not use the traditional constraint but flourished his drum strokes in a new way and was able to add the flavor for which Gugum was looking.

Gugum experimented with various musical patterns. When he was unable to drum them, he sang the patterns to the drummer and the drummer would then perform them. To build up further musical parts for performance, other drummers were added one by one to represent the gamelan instruments which were not yet available. The already choreographed dance was coming to life with a specific musical accompaniment. A touch of Sundanese tradition was added when his wife began to sing in the traditional Sundnese style to accompany the rehearsals.

Gugum was never quite satisfied. In 1978 the Indonesian department of Education and Culture was looking for a group to send to Hong Kong to represent the country in an International Festival of Folklore. Enoch Atmadibrata, a man who knew the culture of the Sunda area better than most asked Gugum for permission to attend a rehearsal of the new dance for. While complying, Gugum pointed out that the dance was not yet ready for serious performance. Atmadibrata disagreed.

The group was chosen to go to Hong Kong. Help was given to find all the right instruments needed for performance and suddenly the new dance form had come of age. Here was a new dance from Sunda, about to be seen abroad and nationally which had seldom been performed in its homeland. Bandung did not yet know the dance.

The patronage of Enoch Atmadibrata helped to establish the new form quickly in its local area of West Java. In 1979 it had its "coming out" at a Festival of People¹s Dance which was held in the Gedung Merdeka in Bandung. It was overwhelmingly received. It was difficult to get into the performance as many more people wanted to attend than could be accommodated. After this Atmadibrata arranged a seminar where Gugum, as principal dancer and choreographer, explained some of the concepts behind the dance.

Its name, Jaipongan had been derived from the sounds use to teach the drum in the Sunda area. As early as 1974 the word "jai-i-pong" was being used to entertain in performances by Ali Saban in the local Topeng Banjet group from the village of Karawang. It had not been attached to the dance which was being developed independently at that time and was still nameless. The three distinct sounds made on the drum were vocalised as "jai-i-pong" The dance became known as Jaipongan.

The performance of the dance was based upon three stages of skill. Although the style of dancing known in the Priangan as Ketuk Tilu, which was most popular with the people of the area from about the year 1917 until the sixties, was the basis of Jaipongan style it was also influenced by the styles used in Silat and by improvisation. The latter can be added by the performer to express himself and might not conform with either Silat or Ketuk Tilu.

Silat or Topeng Styles

The music was based on the Sundanese gamelan but the styles of drumming were quite different. Indonesian national television featured the group and suddenly the dance was a national sensation. The dance quickly became popular in Bandung and the Sundanese area. The group was in constant demand. Officials were shocked by what they saw as "suggestive" movements in the improvised sections of the dancing. I was maintained that the dance was "too fast" and it was described as "erotic". The tight guidelines of the dance make it difficult to describe as "erotic" as it is strictly seated on the basic choreography. Nevertheless the performance of the dance was banned. Popular demand was already assuring the success of the form and now the ban sent the dance "underground" and made it even more desirable. The ban was local. Outside the area of Sunda, the dance could still be performed.

The ban was in force from 1981 to 1983. Gugum started a school to train performers and teachers of the dance. The course which thoroughly trained people in all three levels had many graduates and they took the dance to many parts of Indonesia where it became one of the set types of performance taught in Dance Academies across the nation. Groups from many parts of Indonesia performed it throughout the world. The school has issued 660 diplomas since it started. The group based in the school have toured to Hong Kong, Japan, Bangkok and the USA and have recently toured in Europe. Performances can accommodate up to 100 dancers at a time but usually consist of about ten. The minimum number is five.

Money has been made by the performing groups and money has been made by the recording stars who have made cassettes to satisfy the need for the music nationwide as the form has become more popular.

While it may be easy to criticize Jaipongan for being "commercial" its success boils down to popular taste. An interesting aspect of its acceptance in the West Java area was a distinct decrease in cultural influences from outside Indonesia. People in this area were much more likely to buy a Jaipongan cassette than one of western music and for a period discos declined in favour of Jaipongan. That the younger generation of today prefer the music of Jaipongan to other traditional music is not a bad thing. It says something about the times in which we live and it is good that they enjoy this music so much.

Looking back at the age of forty nine on his achievements, Gugum sees Jaipongan as a dance which has been born out of the essence of the traditions of West Java. He says "the people receive" because the improvisation which is possible within the form allows them to express both their talent and their culture in a special way. The West Java area has always had a strong tradition of the martial arts (Silat) and the members of these groups also found it easy to join in Jaipongan dancing. There is also a strong tradition of pantomime in the area which makes it very easy for people to see the improvised sections as an outlet for theatre performance.

Like all popular art forms, Jaipongan has adapted to the needs of the community. One of the problems of "traditional" performance ,is that it happens at certain specific times and for certain reasons and often in seclusion. Jaipongan has broken down these barriers. It now exists in the popular dance arena and can be found at the local disco in Bandung. It is more than just a folk dance or a free type of dance without design because the limitations of the improvisation have already been set by the creator of the dance. That it has become also a dance which is used throughout the nation and is therefore now "Indonesian culture" is something very special. Well done Jaipongan!

DEGUNG KACAPIAN


DEGUNG
Art Degung is one art sunda karawitan which used instrument gamelan harmony degung (more general harmony pelog ).
At first appearance, art degung, have songs ageung like Lambang, Pajajaran, beer layer, Bima mobos, Kodehel, Jipang prawa, Jipang karaton, Mayaselas, and others,

On developing, happen creation artist past contact, from creation composition based on positions, which basic able in song composition like catrik, kulu – kulu, sinyur, banjaran, bungur, belenderan, lalayaran, and others.

From mentioned, so appear songs degung wanda anyar like song kayaking ( catrik ), nimang ( singur ), Asa tos tepang ( catrik ), anjeun ( mandiri ).Still artist creation, gamelan degung known add kecapi siter and can escort songs intonation sorog like potret manehna ,dua saati, kapaut imut, kacipta kapiati, bentang kuring.

KACAPIAN
Which aim art kacapian is Kawih art which used music instrument kecapi siter, Suling, Kendang, and Goong. Some times need to used Waditra Rebab.Altough this art more potencial even must have been escorted only with one instrument just kecapi siter.
Kecapian reach the top on Koko Koswara period or more than popular as Imut Melati Reumis Beureum Dina Eurih, Kembang Tanjung Panineungan, Dilangit Bandung Bulan keur Mayung, Angkrek Japati, Kembang Impian and others.

At developing this Wanda Kacapian experience develop that rapid enough trough artist creation like Nano.S., Ubun Kubarsyah, Yus wira direju, Iik Setiawan, Wahyu Roche, and others. So appear new songs created Nano.S. As Citarum Sariring Puspa, Bingbang, Tibelat, Praspris, Pengkolan, or song created Ubun and Yus as: Dalingding Asih, Duh ieung, Saha Eta, Bongan saha, yeuh bade ka mana, cimata kuring, Jempling peuting, and others,

Degung, and Kacapian Until now popular on society. Beside past shows and Passanggiri activity, the third art enough popular have been show in wedding reception. Under this is sphere art data between have second art material on top.

For details to visit please Click here

Calung


Art Culture from Bandung West Java

Initially, Calung isn’t a show performance as nowadays but a form of Waditra instrument that made from bamboo joint that is attached at left and right side. One end is bound to a pillar while another end is bound to the body of Calung beater.

In it’s developing, this art arranged to become a waditra that is can easy carried and called as Calung Jingjing. Drs. Ekik Barkah is one of artists that developing and popular this kind of art. Then this art were popular by a group of Calung from Unpad, commanded by Ir. Oman Cs. Until now, Calung Jinjing is one of calung art that is popular as popular by Hendarso.

Senin, 16 Juli 2007

WELCOME TO SAUNG MANG UDJO..!!

Saung Angklung Udjo (SAU) exist in January 1967, contributed by Mr. Udjo
Ngalagena and his wife Mrs. Uum Sumiati Udjo. SAU is the place where angklung and others bamboo instrument are made and played.
SAU also the place where children are singing, dancing and played the bamboo instrument especially angklung.

Here you will find the Sudanese traditional bamboo musical concert performed by a small group of children with colorful and beautiful dances. See their dynamic performances and natural expression. You may not believe that the children performing in the concert are less then 12 years old. There's even a two years old child playing kendang, the Indonesian traditional drum!

Saung Angklung Udjo also present choices of bamboo art performances and traditional dances such as Tari Topeng (Mask Dances), Wayang Golek demonstration (puppet show) and many more. You could feel the sophisticated atmosphere when you experience how to play angklung and being part of our performance all at once. You can see, learn and play "The Angklung," one of Sundanese traditional musical instrument, with the colorful performances, the beautiful dances. Dance together for your memorable visit.
For detail to visit please http://www.angklung-udjo.co.id/

Jumat, 13 Juli 2007

THIS IS @ WAYANG GOLEK FROM WEST JAVA


The Wayang has a strong tradition in the world of Java and Indonesia, representing the struggle between good and evil. The two types of plays are the Wayang Kulit and the Wayang Golek. The Wayang Kulit are two dimensional leather puppets are often referred to as shadow puppets. These are more popular in the areas of Bali. The Wayang Golek are three dimensional wooden puppets and come from Java and the area of Bandung. The Wayang Golek plays usually start at dusk and run to the early morning hours. People come and go as they please. The Wayang Golek puppet master are called Dalang's. The plays are based on the Ramayana or Mahabharata stories. The Ramayana is usually involve Rama , Sinta , Anoman , and Rahwana The main family in the Mahabharata are the five Pandawa brothers and their clown servants. there are also many heros like Gotot Kaca and Srikandi. This site contains information on each of the characters and many more lesser known Wayang Goleks. These puppets are on bases and stand from 24" to over 48". Each Wayang Golek puppet can be removed from the base and both the head and arms can be moved.
These Wayang Golek puppets have very finely detailed carvings on the head and body, with vivid color and detailed paintings. The Wayang Golek body is beautifully decorated in beads and Batik. Some Wayang Golek puppets have wings carved of either leather or wood and are painted by hand. Each Wayang Golek puppet is individually carved by hand making each unique and a collectors item. These Wayang Golek are carved form wood and painted by the artists (Giri Harja III) who make the puppets for dalang Asep Sunarya (puppet master) who performs worldwide. The artists use hair from cats to obtain the extremely fine details and lines. These are Indonesia and the world's finest Wayang Golek puppets.