Page 6 - Fifty-fifty Sep 2021
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Gamelan music accompanies the wayang kulit puppet show
             Gamelan Padhang Moncar has accompanied Ki Joko Susilo in performances of wayang kulit in New Zealand
             since 1993, when the group was first initiated into the challenges of this. Since then, the group has performed
             frequently with him in Wellington including at several Southeast Asian night markets on the waterfront,
             CubaDupa Festival, at the NZ School of Music, and at a national festival of puppetry. Together they have
             performed twice at New Zealand’s WOMAD Festival, in 2003 and 2012


























                                    Gamelan Padhang Moncar with Ki Joko Susilo at WOMAD Festival 2012.
             The gamelan is an integral part of a wayang kulit performance. As the dhalang (puppeteer), Joko directs the
             gamelan in real-time using various signals from his right foot (clashing metal plates against a wooden box) and
             his left hand (knocking a wooden knocker against the box). He also uses vocal signals, either sung or spoken,
             that the gamelan musicians are expected to pick up on. In a wayang kulit performance in Java, the gamelan
             would be able to respond to such signals on the fly, drawing on a wide repertoire and experience. Here in New
             Zealand, Joko tends to more closely plan the music for his shows with us, as our repertoire and experience is not
             so broad. New Zealand performances are also short (typically 1 to 2 hours) compared with the 8 hour shows that
             are normal in Java.

             A wayang kulit begins with a musical performance, Talu, which functions as a prelude or overture. Throughout
             the course of a wayang kulit performance, the pathet (musical mode) changes twice, each time affecting the
             mood and range of the music accompanying the shadowplay. This requires the performers of the elaborating
             instruments to draw on different sets of musical patterns.





























                              Budi S. Putra plays kendhang (drum) at a wayang kulit performance at Wellington’s CubaDupa
                            Festival in 2018, while he and other players keep their eye on the action on screen. Pictured (L-R) are
                             Rupert Snook, Paul Nuttall (obscured behind Rupert), Dave Edwards, Mike Jones (cropped behind
                                               Dave), Budi S. Putra, and Megan Collins.



             FIFTYFIFTY | ISSUE 19                                                                             6
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