Page 6 - Fifty-fifty Sep 2021

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, and on many
occasions since then.

The gamelan is an integral part of a wayang kulit performance. As the
dhalang (puppeteer), Ki Joko Susilo 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. 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 shadow
play. This requires the performers of the different instruments to draw on
Metal plates on the wooden box of the dhalang different sets of musical patterns.
The group’s kendhang (drum) player is crucial in mediating signals from the dhalang to the gamelan players. Our
drummer and director, 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 S. Putra plays kendhang (drum) at a wayang kulit performance at Wellington’s CubaDupa Festival in 2018
Gamelan Padhang Moncar has spent several months rehearsing the standard repertoire for the performance of
the Ciptaning Story, with some of the newer members not having performed with wayang before. The gong player
is also kept very busy in the music for wayang.

The sindhen (female vocalist) has also been studying hard over several months to learn the repertoire chosen by
Ki Joko Susilo for this performance.

We are planning a short but intensive period of rehearsal with Ki Joko Susilo in the week leading up to this
performance, 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.

By working with Ki Joko Susilo to perform wayang kulit in Wellington, Gamelan Wellington continues to engage
New Zealanders in the seni pertunjukan (performing arts) of Indonesia. We believe that such cross-cultural
collaborations within the arts sector are important, as they strengthen cultural ties between Indonesia and New
Zealand.

For more information on Gamelan Wellington, visit us online at www.gamelan.org.nz

FIFTYFIFTY | ISSUE 19 6