Page 7 - Fifty-fifty Sep 2021

The group’s kendhang (drum) player is crucial in
mediating signals from the dhalang to the
gamelan players. Our drummer, Budi S. Putra,
gives signals to the full group based on what is
happening on the screen and interprets direct
vocal or sound cues from the dhalang, sending
them, via his drum, to the group. Budi also
coordinates drum strokes with the dhalang to
emphasise important moments in the story,
especially when there is fighting (which there
usually is). He signals changes in speed and in
volume to provide appropriate music for whatever
scene comes up.

The gender player provides another important
musical role in wayang kulit performances. In
addition to music provided by the full gamelan,
the dhalang sings short vocal pieces in Kawi (Old
Javanese) that are accompanied by the gender.
The gender also needs to keep playing quietly
while the action and dialogue on the screen
proceeds so as to provide the musical pitches to
aid the dhalang whenever he needs to start
singing again.
The gender, one of the “elaborating” instruments

Gamelan Padhang Moncar has spent several months rehearsing the standard repertoire for this show, with some
of the newer members not having performed with wayang before. There is plenty to learn, including the signals to
start, stop, speed up and slow down, drop out for a quiet section, and so on. All players must be confident that
they can recognise which drum strokes are important cues and which should be ignored as they are not a signal
to the musicians, but accompany action on the screen, such as a character hitting another in a fight. And now,
during the current nationwide lockdown (August 2021), the group continues to meet over Zoom to keep up to
date and musically organised.

The sindhen (female vocalist) has also been studying hard over several months to learn the repertoire chosen by
Joko for this show. Fortunately, in the Age of Zoom, the constraints of lockdown on the ensemble are less severe
for the singer, who has been able to train with Joko and Budi remotely.

The gong player is kept particularly busy in the music for wayang and since our previous player is currently
unavailable, one of our experienced and versatile performers, Hazel Barrett, has been in training for this role.
Hazel explains, “I’ve enjoyed learning the gong parts because a variety of different playing styles are found in the
wayang music. It is also quite a physical job and keeps your arms moving!”

Reflecting on the last wayang kulit the group did in 2018 at the CubaDupa Festival, Gamelan Padhang Moncar
member and balungan (core melody) instrument player Paul Nuttall recollects, “Many people stopped to watch.
From behind the screen it was great to see an enthusiastic crowd, and enthralled children.” The repertoire for
that performance was in the pelog scale. Looking ahead to September’s performance and its distinct slendro
repertoire, Paul continues, “It should be a whole different experience. Bring it on!”

We are planning a short but intensive period of rehearsal with Joko in the week leading up to the show during
which the group will adjust to the realities of responding to cues from the dhalang and the sequence of story and
music will be fine-tuned and finalised.

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