In Indonesian and Balinese culture, gamelan is very important in societal life as it brings people together and allows them to express their feelings in a culture which is not always possible for them to do so publicly. “Ensembles become a social space in which the expert, or teacher, uses primarily kinetic and aural modes to transmit musical knowledge to the learners (Trimillos, 2004). In this way, teachers are guiding through demonstration, and a student gradually ‘absorbs’ the music, until it ‘becomes part’ of the learner (Harnish 2004)” (Brashier, 2013). In Bali, the placement of the instruments and the manner in which they are played is very important both religiously and culturally. The instruments are kept in an area labelled as the ‘bale’ which is a large open space with a roof over the top to protect the instruments, with open sides to allow the music to flow out from the rehearsal room. The Balinese believe that their instruments belong to the community, rather than them being owned by one specific individual. This additionally results in all members of the community being able to attend the bale and listen in on group rehearsals. The gamelan is led by a single instructor whose job is to lead the community through music and evolve new pieces. It is very important in Balinese society to constantly change the music by reworking pieces and mixing them together (Lentz, 1965).
Gamelan music has been handed down through oral techniques over many generations in Bali. Children learn through watching and copying their elders, as the music is not generally written down. Gamelan is considered to be magical as well as spiritual, which is a very important point in being a part of the Balinese society. Gregg Howard, an expert teaching at the Griffith University Conservatorium of Music states, “for a start, working with metal, which gamelan makers do, has an ancient history and has been regarded as a sacred practice. Those who make gamelans are usually highly respected individuals, often with long histories of apprenticeship behind them. In Bali in particular, gamelan markers are sometimes regarded as having ‘spiritual powers’” (Howard, 2015). Players and performers must treat their instruments with total respect. Therefore, the players must never step over the instruments, nor play with their shoes on.
|
|
This
reflects their religious belief in Gods as they believe the
instruments are tied to heaven and by not regarding the instruments and
others in this way, it is said that they are stepping over the ties
created with heaven. Certain compositions are also obtained to having
‘magic powers’, and can be used to ward off spirits. Essentially, this
is why respectful oral traditions are evident and crucial in Balinese
culture.
Each performance within the community is designed to serve a specific purpose or ideal. The music is often performed in ceremonies, religious events, in a concert context, in dance, or in a wayang theatre performance. Wayang theatres are the generic term for traditional Indonesian theatre, now seen as the long tradition of shadow puppetry (Varadpande, 1987). Typically, players in the gamelan orchestra will be familiar with the dance moves and poetry, to ensure they can fulfil both roles of entertainment. Additionally, this concept works vise versa, as members of dance will be able to perform in the orchestra at a cultural level. Some gamelans have also been associated with the royal courts and played by special lineages of gamelan musicians. The royal courts were believed to gain their authority from spiritual powers, and gamelans in turn became associated with this idea in creating spiritual authority for themselves. They are always treated with respect and sometimes with reverence or temple connections (Howard, 2015).
Offerings of flowers, food and incense are made to important gamelans on sacred days or before ceremonies and performances. The large gong (idiophone) in particular is regarded as having inherent power and always receives a special offering of its own (Howard, 2015). Howard states, “Here in Australia, we always have flowers and a small bowl of flowers in particular at the gong, at every performance. This is significant in honouring the old Balinese tradition” (Howard, 2015). The music of Indonesia demonstrates its local creativity, subsequent foreign musical influences that shape contemporary music scenes as well as cultural diversity. In relation to this, thousands of islands have their own artistic and cultural character which results in thousands of different forms Indonesian of music being created today.
Each performance within the community is designed to serve a specific purpose or ideal. The music is often performed in ceremonies, religious events, in a concert context, in dance, or in a wayang theatre performance. Wayang theatres are the generic term for traditional Indonesian theatre, now seen as the long tradition of shadow puppetry (Varadpande, 1987). Typically, players in the gamelan orchestra will be familiar with the dance moves and poetry, to ensure they can fulfil both roles of entertainment. Additionally, this concept works vise versa, as members of dance will be able to perform in the orchestra at a cultural level. Some gamelans have also been associated with the royal courts and played by special lineages of gamelan musicians. The royal courts were believed to gain their authority from spiritual powers, and gamelans in turn became associated with this idea in creating spiritual authority for themselves. They are always treated with respect and sometimes with reverence or temple connections (Howard, 2015).
Offerings of flowers, food and incense are made to important gamelans on sacred days or before ceremonies and performances. The large gong (idiophone) in particular is regarded as having inherent power and always receives a special offering of its own (Howard, 2015). Howard states, “Here in Australia, we always have flowers and a small bowl of flowers in particular at the gong, at every performance. This is significant in honouring the old Balinese tradition” (Howard, 2015). The music of Indonesia demonstrates its local creativity, subsequent foreign musical influences that shape contemporary music scenes as well as cultural diversity. In relation to this, thousands of islands have their own artistic and cultural character which results in thousands of different forms Indonesian of music being created today.