Property:Description en
From BASAbaliWiki
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Buru is a contemporary dance work by artists Dewa Ayu Eka Putri and I Putu Tangkas Adi Hiranmayena, both of whom created an experimental duo team known as ghOstMiSt. Buru is one of their works in 2021, this work is inspired by the novel of the legendary Indonesian writer Pramoedya Ananta Toer in the Tetralogy Pulau Buru. Although in this dance work the focus is more on feelings of isolation, the ability to fight and survive the feelings of anxiety, fear and death, when political prisoners are exiled on Buru Island. +
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COMA (Composting Around) is a composting activity carried out by young people from the school environment who then moves into the community with a background of organic waste which damages the environment if not properly processed. The COMA action begins with socialization in the form of education in the form of knowledge and practices about composting on a regular basis to young people in schools such as high schools. After being given education, students will carry out composting practices directly in the school environment. This composting ability will then be applied in their respective homes which will indirectly be applied on a community scale, where the community is the largest source of organic waste. +
Tabuh Caru Wara was composed by composer I Dewa Ketut Alit from Banjar Pengosekan, Mas Village, Ubud. Dewa Alit was born into a family of artists in Bali. As a composer, he is known to have an "avant garde" approach but still considers traditional values. Dewa Alit is often invited to teach and compose Balinese gamelan abroad, including: Boston, Massachusetts, New York, Munich, Frankfurt, and others. In 2007, Dewa Alit founded Gamelan Salukat and has toured America in 2009 and 2010. Tabuh Caru Wara was created in 2005 which has the meaning of harmonizing the complex dynamics of values, friction, clashes, conflicts, opposite directions, the concept of complementarity and complexity contained in the cycle of days based on the Balinese calendar. +
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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. +
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. +
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.
