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Minority Musics

posted on 2021-08-19, 15:48 authored by David Harnish
6.1 Barong Sai troupe at Festival Mataram, 2017, performing and interacting with political and military leaders.

6.2 Gamelan Jerujeng at Dusun Baru, a Buda village, 1988. Performance is at a ngayu ayu festival called Mulek Kaya. This sacred pusaka (heirloom) gamelan features serune double-reed (almost inaudible due to damage), gongs, drums, and chime and it was performed throughout the days of the event.

6.3 Overlapping badede (indigenous poetry) singers at Dusun Baru while the Belian medium escorts the village ancestors into a makeshift shrine and Buddha is ushered into the central stone shrine. A member of the tuaq lokaq (pemangku council) sits before the stone shrine.

6.4 The Belian leads a group of dancers “dancing” pusaka (heirloom) items – fan, shield and spear, staff – around the makeshift shrine three times in a counterclockwise direction. The gamelan jerujeng performs “Ring Ringan” (Accompanying) with an unrelated badede singer.

6.5 Balinese Preret player for temple consecration, Batu Kumbung (West Lombok), 2017. The piece this player is performing is “Guak Jidol” (Crow Steals Egg); a similar piece is played on Barong Tengkok. Preret are played with a circular breathing technique. This preret has an unusually large bell.

6.6 Rejang Renteng dance, Pura Kelasa, Narmada, 2017. This dance is held at the Pujawali festival for this temple. Rejang Renteng features elder women performing a choreographed piece and is a marker of modern Balinese religiosity. This was a particularly beautiful performance.

6.7 Canang Sari dance, Pura Kelasa, Narmada, 2017. This offering dance has a long history at Pura Kelasa and is a traditional dance forged by Balinese on Lombok. Formerly, this dance would feature a number of males but today men and women and sometimes children are allowed to participate. This change indicates a modernist revision.


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