This is a performance of kidung Palawangan Daha. It includes pada four through six. Pada one, two, and three can be heard in the track Asak, kidung daha, Palawangan Daha [p1,p2,p3] (1972) 020-06-634. Pada seven, eight, and nine can be heard in the track Asak, kidung daha, Palawangan Daha [p7,p8,p9] (1972) 021-02-65.
During the palawangan taruna ritual on Tumpek Kuningan, the taruna carry the gambang ensemble through the village, circling the residential area starting in the East. “Lawang” means “doorstep” or “gate” and refers to certain magical points of entrance throughout the village. At certain locations along the route several pupuh are played. If they stop in front of a temple, they play a melody associated with the deity of that temple. At other locations the menanga chooses a pupuh to perform. He usually chooses pupuh that are not so commonly used in Asak, such as Rara Bali, Malat, Slambur, Demung, Pangrus, etc. The group may play these in modes other than those in which they are usually performed. The journey begins in the East. Here, several pupuh are performed: Pator for the Pura Ibun Desa, Ranggacalon for the Pura Puseh, and Sadi for the Pulasari ancestor group. Thereafter, the instruments are brought to the West where the gambang performs pupuh Rebong for the Pasek Gelgel ancestor group among others. The gambang then travels to the South where the gambang plays several pupuh chosen at the discretion of the menanga. Thereafter, the gambang is carried along the western road, then turns east to the eastern village road and stops at a spot close to the Pura Segaha and the Pura Dalem Alit. Here, pupuh Panjimarga (for the Pura Segaha) and Condong (for the Pura Dalem) are played. The final stop is on the eastern road just outside the Pura Bale Agung (the center of the village) where pupuh Pamandana and the closing melody pupuh Panjimarga are played. Recordings of the gambang played during this ritual can be heard in the tracks Asak, gambang, Kasumba [k1,k2,k3,k4] (1972) 027-05-98, Asak, gambang, Kasumba [taksu,kale] (1972) 027-05-98, Asak, gambang, Pator [taksu] (1972) 027-03-96, Asak, gambang, Ranggacalon [k3,k4] (1972) 027-03-96, Asak, gambang, Ruag Raig [k1,k2,k3,k4] (1972) 027-04-97, Asak, gambang, Ruag Raig [taksu,kale] (1972) 027-05-98, Asak, gambang, Semara [k1,k2,k3,k4] (1972) 027-03-96, Asak, gambang, Semara [taksu,kale] (1972) 027-04-97, Asak, gambang, Sudamala [k1,k2,k3,k4] (1972) 027-04-97, and Asak, gambang, Sudamala [taksu,kale] (1972) 027-04-97.
On the next day, Manis Kuningan, the palawangan daha ritual is carried out. During this ritual, the daha walk through the village singing kidung. This journey is similar to that of the palawangan taruna, the difference being that the daha walk along a prescribed route through the village and sing nine stanzas (pada) while walking. Each stanza corresponds to a location along the path: pada 1 in the Pura Puseh, pada 2 leaving the Pura Puseh, pada 3 in the Pura Bale Agung, pada 4 leaving the Pura Bale Agung, pada 5 in the Pura Segaha, and pada 6 leaving the Pura Segaha. They sing pada 7 along the southern road to the West, pada 8 as they proceed along the western road to the North, and pada 9 when they arrive at the Pura Bale Agung in the center. In both cases (taruna/gambang and daha/kidung), they begin in the Pura Puseh and end in the Pura Bale Agung. Between these points, the taruna go to the west, south, east, and north to end up in the Bale Agung, while the daha stay in the east and go south, then west, north, east, and south to the Bale Agung.
