GAMELAN

Indonesian Gamelan
--by Samip Patel
Gamelan (gah-meh-lan) now formally means "an Indonesian orchestra," but it generally refers to the traditional form of Indonesian music involving an orchestra comprising various percussion instruments. The percussion instruments are wood, iron, bronze, or bamboo bars, bronze or iron gongs, cymbals, drums, and bells. In addition, flutes and even human voices are used in certain types of gamelan music, depending on the geographical variant or the venue of the music. The word "gamelan" is derived from a word meaning to play (or strike in the context of a musical instrument). As is suggested by its official definition, the word gamelan used to refer to all Indonesian music, but the word began to refer to a specific style when foreign music and terminology entered Indonesia.

The gamelan orchestra has a large variety of instruments. Within the category of gongs, there are suspended gongs, of which there are multiple varieties each of bass gongs, middle voice gongs, and treble gongs. The other category of gongs is the horizontal gongs, of which there are various gong racks and handheld gongs. There are (many varieties of) metal, wood, and bamboo bar instruments ("xylophones"). There are cymbals, drums, flutes, and stringed instruments (bowed & plucked). The two usual scales used in gamelan music are slendro (pentatonic) and pelog (heptatonic-pentatonic). The full gamelan has pairs of instruments with one tuned in each scale. Both scales are often used simultaneously in the music. Tuning on a gamelan is distinct from the tuning on another gamelan. Indonesian music is often organized such that the lower registers provide the form, the middle registers are the melody, and embellishment is done through the higher registers.

As is suggested by the description as orchestral, gamelan music is an amalgamation of the efforts of many individual artists. The style of music is very formal; it was played at special community functions, ceremonies, and for the royal court. The music was also played as an accompaniment to dances during ceremonies and the like. Gamelan music is evidenced to be at least 1200 years old. Borobudur, Prambanan, and Candi Sari are Javanese temples depicting instruments of the gamelan, such as lutes, harps, "xylophones," and flutes. Oddly, gongs are missing from the historical record, and most of the species of instruments represented no longer exist in Indonesia. Nevertheless, the types of instruments are indicative of gamelan. Newer historical sites (~1300's) show the incorporation of gongs and the technological advancement of xylophone-type instruments (eg. The use of bamboo to amplify sound). Gongs don't seem native to Indonesia; they seem to appear in a refined state probably developed on the mainland. Some instruments resembling Indian instruments (eg. Sitar) were depicted as well, but there is no evidence these instruments ever existed in Indonesia. They could have been just relics of Indian influence, one of many foreign influences incorporated into Indonesian culture, in the region.

When Islamic influence came to the region, Hindus were converted or exiled to Bali; thus the gamelan music of Bali is "purer" than that of Java. Of course, indigenous changes in individual artistic style and overall culture had an effect on even Balinese gamelan. Gamelan music, all variations, continues to evolve today. In the last hundred years, Balinese gamelan has seen an increase in tempo while Javanese venues have become less grand. The kebyar style of Balinese gamelan is a product of the last century as are the bonang imbal and kembangan styles of Javanese playing.

The gamelan was regarded highly spiritually as well as purely musically. Each instrument was believed to have a spirit that must be respected. For example, shoes must be taken off when playing an instrument in gamelan.

Gamelan orchestras are present throughout Southeast Asia in some form. Even in Indonesia, because of the variety of cultures within the country, there are variations in gamelan tradition. The major two within Indonesia are Javanese and Balinese. The Javanese gamelan has, in addition to the main percussion base, a bow-stringed instrument known as the rebab. The rebab and gender (xylophone) serve as the main melodic instruments of a Javanese gamelan. The spiritually leading instrument is the Gong Ageng, the biggest gong of the ensemble. Musically and rhythmically, the group is led by the drummer.

Balinese gamelan's most distinctive characteristic is the kotek. It is the sharing of a melody by trading notes of different pitches. Splitting up a melody into interlocking segments can create a fast tempo. One interesting fact is that one instrument (of the pair in gamelan) is tuned true while the other is tuned flat so that a shimmering/beat effect is attained. Balinese gamelan music can be split up into the venue for which it is being performed-temple music, Legong dance music, chamber music, processional music, and more. Javanese music is more influenced by the Islamic occupiers, and it is designed more for the royal family in palaces and other royal events.

Today gamelan music continues to change and incorporate elements from other types of music of the world as Indonesian music and culture has always done. Ensembles have been formed here in the United States as well.

PARANG TRITIS BEACH

Parangtritis
Beach
Has Its
Own Tale





The images we have of gorgeous beaches everywhere in the world are similar: rocky cliffs and sand hit regularly by rolling waves under a clear blue sky. On a clear morning or evening, the beaches are a great place to stroll while watching sunrise or set. Not all beaches, however, have a unique tale behind them. One of the few that does is Parangtritis Beach in Yogyakarta, Central Java, Indonesia.

Located about 35 km to the south of Yogyakarta, Parangtritis Beach has long been famous, not only as a beach resort where sand-dunes, sandy beaches and rocky cliffs meet, but also as a historical place closely linked to the mysterious legend of the Queen of the South Sea, "Kanjeng Ratu Kidul". Together with her confidant, the feared Nyai or Nyi Roro Kidul, the ever youthful and beautiful queen, Kanjeng Ratu Kidul reigns over sea-nymphs and spirits.

The legends say that Kanjeng Ratu Kidul was married to one of the Mataram Monarchs, Panembahan Senopati, whom she visited and communed with on certain occasions.

On certain days known as Suro in the Javanese calender, locals have a ceremonial procession, with many seen presenting offerings on the beach in honour of the Nyai Roro Kidul and Queen of the South Sea. During the day, many visit the beach and hold what is known locally as tirakatan (one-day fasting) as they pray for their wishes to be fulfilled. People in black are frequently seen sitting on the beach in a meditating pose the whole night. Locals who have meditated on the beach have said that through meditating they could see a green dragon and Nyi Roro Kidul, who remains young and beautiful. "The dragon danced before my eyes," one local said in a convincing voice. Another admitted that he meditated there so that he could meet the ever-youthful and beautiful Nyi Roro Kidul. "I can even communicate with spirits here," he added.

The legend of Nyi Roro Kidul herself is very popular. Before turning into a nymph, Nyai Roro Kidul was a young princess named Dewi Kandita, the daughter of King Mundangwangi and his first wife. The popularity of Dewi Kandita and her mother Dewi Rembulan was beyond doubt. They were known for their beauty, kindness and friendliness, and people loved them. However, the misery of their lives began when Dewi Mutiara, another wife of King Mundangwangi, known locally as selir, became green with envy and grew ambitions to become the first wife, thereby deserving full affection and attention from the king.

Dewi Mutiara's dream came true when one day she bore the son that the king had long been yearning for. Through the assistance of a witch, Dewi Mutiara made the king's wives Dewi Rembulan and Dewi Kandita suffer from 'strange' disease, with their bodies covered with scabies that created the odour of fish. The disease led them to be sent into exile in the forest where later Dewi Rembulan died. After a long, hard and helpless journey, the scabies-covered Dewi Kandita eventually arrived at a beach where she met a young, handsome man who promised to cure her illness. At the request of the young man, Dewi Kandita chased after him as he ran along the beach. When she reached the water, the man disappeared and, to her surprise, all the scabies had disappeared but, strangely, she could not move her legs. Half her body, from the waist down, had turned into the body of a fish.

Since then she became a sea-nymph, and the locals believe that Nyi Roro Kidul is the manifestation of Dewi Kandita. Want to see Nyi Roro Ridul? Then try meditating the whole night there as locals have suggested

taman sari water castle

When a traveler is browsing in Kraton, then she/he should not miss The Water Castle or known as Tamansari, less than 1 Km west of Kraton. Just west of the Kraton, are the ruins, pools, arches and underground passages of the former pleasure gardens. It was built in 1758 by Sultan Hamengkubuwono I as a rest house and pleasure park for the Royal family. Tamansari means beautiful garden. It was badly damaged due to an earthquake in 1867. Some parts of it, for instance "Umbul Binangun" bathing pools have been restored.

Upon seeing the ruins of Taman Sari, some cultural experts say that it has multi purposed functions, such as:
1. A Rest house, in the form of water castle with beautiful park. The air is fresh due to:

Artificial lakes and canals
Bathing pools
Large gardens with several kind of varieties of trees
2. A place for sport and entertainment

Boating and swimming
Deer hunting
Classical dance Bedoyo and Srimpi
Gamelan music
3. A place for meditation
4. An important palace and shelter for the Sultan. It was well protected. It had 2 Bastions with 12 and 6 Cannons.

The Castle itself divided into two (2) complexes. They are:
1. Umbul Binangun - swimming pool complex
It is the swimming pool where only the Sultans women can frolic. In this complex only woman employees serve the Sultan. Theres also a three story tower, with Sultan private bedroom stands south of the swimming pool and The Sultans private bath-pool is behind the tower. Somewhere in the south part of the palace, there is a special place, believed to be Sultans meeting place, from time to time with the Goddess of the South Sea, Kanjeng Ratu Kidul.

2. Pulo Kenongo " Complex
Pulo Kenongo, the Palace of Kenongo Island was found in the middle of Segaran Taman Sari. (Taman Sari artificial lake, which was connected by water canal to the other artificial lake nearby the kraton) Kenongo is a name of flower trees planted in the front yard, where the fragrance spread out in the palace. Just like in a palace, there were living rooms, bedrooms, rooms to make Batik, a hall to perform classical sacred dance of Bedoyo and Srimpi, gates and sentry-boxes guarded strongly by the palace soldiers.

Getting There:
There are two ways to visit this place. The one is through Pasar Ngasem Bird Market, just go inside and find an alley called KP III, turn left, walk about 200 m, there is the Pulo Kenongo rest house complex. The other is through Jalan Taman Sari, from Pasar Ngasem, go by becak to South Square, around 0,5 Km turn right, there is the East-main Entrance, leads the way to the Royal Swimming pools.

Where to Stay:
Tourist who wants to stay in the heart of the city has many choices since there are a lot of star and non-star hotels available.

Moving Around:
On foot

Other Things To See or Do:
Sightseeing into the castles complex and buy some souvenirs at Pasar Ngasem.

Dining Guide:
There are many local 'warungs' (food stalls) that serve local foods. You can try one of the famous Yogyakarta local dish calledGudeg, a curry of jackfruit, chicken and egg served with rice.

Souvenir Tips :
Pasar Ngasem " Bird Market, here is a market place which sells several kinds of cute birds and pets. Traditional products and household earthenwares are also sold here. In this area Batik Painters do not only sell their products, but some also give instruction in this art. Art shops and galleries of medium quality can be found allong the alleys.

Travel Tips:

No travelers is allowed to take picture of Sultan private bedroom at Umbul Binangun " Swimming Pool Complex.
For short distances you can take a becak (pedicab) to drive you around.
Some drivers offer you a city-tour for almost a whole day for 10.000 Rp per person.

Dress comfortably. Wear sneakers and a hat, the temperature in Jogjakarta is quite high. Bring along an umbrella, in case of rain.
When visiting Kraton or Taman Sari, avoid wearing shorts or mini-skirts. Your pants or skirts should be long enough to cover your knees. This conveys the message that you understand the local customs. And the locals will also respect you more.
Bring along a camera to capture the memorable moments. You are allowed to take pictures in this site with a minimum fee.

LOCATION:
Candi Mendut is located some 45 minutes northeast of Yogyakarta. It sits on a hill in the town of Muntilan in the Magelang District. Most travel agents in Yogyakarta offer the day-trip excursion to this temple as part of the tour to Candi Borobudur located nearby.

DESCRIPTION:
Candi Mendut is located some 2 miles east of its more popular cousin, Candi Borobudur. It was built around 800 A.D by the Kings of Syailendra Dynasty, the same kingdom that built the world-famous Candi Borobudur some years later.

If you go inside the compound after paying the minimal entrance fee of about Rp3.000, you can see three big statues enclosed in the square-shaped temple: Cakyamuni (Sitting in cross-legged with dharma cakra mudra position ie: turning the wheel of dharma hand gesture), Awalokiteswara (A bodhi satwa as a human helper), and Maitreya (The savior of humans for the future).

There is a huge banyan (warigin) tree at a corner of the temple compound, providing a good shade to visitors. During my visit also, the tents used for the massive Waisak (Waicak or Wesak) celebration were still intact despite the event was completed a few days earlier.

As always, there were a number of street vendors here, selling things like necklaces to knockoff Buddha statues and T-shirts. Some of them were rather aggressive, just like everywhere else that I encountered.

MY VERDICT:
Despite the significant history behind this temple, the trip can be rather boring due to its small size. Not to mention the street vendors chasing you to buy gift items.