Our path in life cannot be separated from the element of dualism. It influences how we make choices and sort every aspect of our lives. Most hope for progress (maju), but there are also more than a few that look to the past (mundur). Maju (forward) and mundur (backward) have become familiar words and they also inspire this work.
This work is performed on instruments from the Gamelan Pesel, including reong, 2 gong, and 3 kempur.
“Bebas Berpendapat” (free thought) means that there are no limits to our opinions. No one else should be able to prohibit speech because we have a right to freedom of expression. With refined thoughts, opinions can be designed and expressed as desired.
3. Abu Masuk Tanah (Heart’s Contents)
Old stone to new building, old timber to new fires,
Old fire to ashes, and ashes to the earth
Which is already flesh, fur and faeces,
Bone of man and beast, cornstalk and leaf
– excerpt from East Coker, by T.S. Eliot
Abu Masuk Tanah (Heart’s Contents) was written with much help from Isis Wolf-Light, and would not have been possible without I Made Subandi’s gracious lending of space, time, and instruments.
Solar and lunar eclipses (gerhana) are an astronomical phenomenon that occurs when a celestial object moves into the shadow of another celestial body. This phenomenon inspired this work of instrumental music for four instruments from a gamelan semarandana, two gangsa and two kantilan.
The beginning (awal) is the introduction to the start (mulai) to pursue.
This piece is inspired by the figure of Karna in the epic Mahabharata, a generous philanthropist who upholds the values of ksatria. These values drove him to become the leader of the Kauravas army during the battle of Bharatayuda. Antaka means to die—to die for the sake of the people’s welfare defending against adharma, or wiliness to die for dharma. In Sanskrit, karna also means ear and it is our ears that give us the capacity to perceive music. Orthodox cultural assimilation makes the function of Karna/ear Anataka/die. The dominance of visual hyperbole combined with the arrogance and politics of music are minimized in order to maximize answers about the essence of baleganjur as music/architecture of sound.
A musical composition realized using the seven-tone tingklik and arranged with the concept of minimalist music. The technique of metingkadan, used by the kuntung instrument in the jegog ensemble, is performed by two players who play the same rhythmic pattern. However, an interlocking rhythm is achieved when their parts are executed with the help of two metronome that provide each player with a different tempo.
“Dik” is an abbreviation for be-dik (a little). Sekaa means group, but Seke Bedik means little by little. Therefore, I imagine Seke Bedik might refer to a group that consists of a few people. The word “ke” can mean to proceed (menuju) and “dik” can mean younger brother (adik), which is what this composer is called at home. In this work Rudy sought his own identity within the context of art and gamelan. Another aim was to realize his imagination as expressed by two rindik.
Sukasih is a combination of suksma (thank you; Balinese) and terima kasih (thank you; Bahas Indonesia). In this life we must be grateful for our successes, whether it be for those we achieved on our own, or through the help of others. As social beings we need to support each other such that we strengthen the brotherhood. Expressing gratitude has become very important to me and therefore I tried to realize it in the form of music for the selonding. I imagined mellow, refined, and cheerful melodies. I also did not forget to thank the people who were willing to help me in realizing this work, including the people I borrowed gamelan instruments from and the friends and supporters who were willing to take the time needed to participate in learning the song. I also did not forget to express gratitude to Tuhan Yang Maha Esa, who provides power to everything I want to achieve.
Ignorance provides a variety of interpretations. These interpretations create a dilemma between the one that is closest to the original intent and those that are achieved carelessly. Who knows? It doesn’t matter, conscience will give us meaning.
Berawal dari sebuah proses yang dimana proses tersebut bertujuan untuk mewujudkan suatu impian yang diinginkan. Selama berproses banyak masalah yang terjadi selama proses itu berlangsung, dari masalah tersebut maka diperlukan adanya diskusi untuk mencari solusi untuk mencari jalan keluar dari masalah-masalah yang terjadi dalam suatu proses tersebut. Dalam diskusi tersebut banyak topik yang dibahas terkait dengan masalah yang terjadi di dalam proses tersebut dan pada akhirnya nemu titik akhir dari hasil diskusi yang menjadi solusi dari permasalahan yang terjadi. Setelah mendapatkan solusi dari masalah dalam proses itu, maka terjadi suatu pengalihan pembicaraan-pembicaraan menjadi suatu perbincangan dengan banyak topik yang dibicarakan namun tujuannya bukan untuk menyelesaikan masalah lagi, melainkan topik itu hanyalah sebatas pembicaraan semata atau omong kosong yang tidak ada arah dan tujuan yang pasti. Dari pembicaraan semata atau omong kosong yang tidak ada arah dan tujuan yang pasti tersebut komposer terinspirai untuk membuat suatu karya musik dimana musik tersebut terdapat banyak pola yang dimainkan namun isiannya kosong seperti halnya orang yang bercengkrama dengan banyak topik namun di dalamnya hanyalah omong kosong. Dari ide tersebut komposer mencoba menuangkan ide tersebut ke dalam sebuah barungan suling dengan penataan seperti layaknya orang berbicara silih berganti yang tidak ada tujuan yang pasti yang diberi judul “BERCENGKRAMA”
Special thanks to the owner of Batuan Resto: I Ketut Arsana.
Recording session coordinator(s): I Komang Pasek Wijaya (Pasex)
Recording date(s): 2016/12/11
Recording location(s): Batuan Resto, Desa Batuan, Kab. Gianyar, Bali
Audio recording: Jonathan Adams, I Putu Gede Sukaryana (Balot)
Video recording: Jonathan Adams, I Putu Gede Sukaryana (Balot)
Crew: Yan Priya Kumara Janardhana (Janu), I Putu Arya Deva Suryanegara (Arya), I Komang Winantara (Mangwin), I Putu Ayong Crisnanda Wahyu Kusuma
Audio mixing: Jonathan Adams
Audio mastering: Jonathan Adams
Video editing: I Putu Gede Sukaryana (Balot)
Photography: Jonathan Adams
Cover art: Jonathan Adams
