mediaposted on 19.08.2021, 15:51 authored by David Harnish
1.1 Tawaq tawaq, Montor, 2017. Sasak and Balinese “musicking” and hanging out together.
1.2 Barong tengkok, Montor, 2017. Sasak and Balinese musicking.
1.3 Klentangan, Montor, 2017. More musicking.
1.4 Klentangan 2, Montor, 2017. More musicking. Musicians, including again Pak Gohe and Pak Yudarta and Amaq Hamdi and his club, play one key each in interlocking parts.
1.5 Rebana, Lingsar, 2017, a troupe led by Nur Jape. This performance preceded their accompaniment of Cupak Grantang as part of the entertainment leading to the Lingsar festival.
1.6 Gamelan Gong Sasak, Montor, 2017. Director Amaq Hamdi (second drummer from left) leads a “kebyar” introduction. Several Balinese have spoken of their respect for this sanggar and its ability to perform difficult gong kebyar repertoire.
1.7 Gamelan Gong Sasak, Mataram Festival, 2017. This was one of the troupes on a stage placed along the road for this major event.
1.8 “Mini” Gamelan Gong Sasak at Lombok Raya Hotel for Indonesian Librarians Conference, Mataram, 2017. This clip, featuring Amaq Senen, demonstrates the Sasak practice of adding vocals to gong Sasak music, distinguishing it from Balinese gamelan gong kebyar. This piece preceded a performance of gendang beleq and the Mandalika dance drama. The dancer/choreographer/educator Abdul Hamid was one of Princess Mandalika’s suitors and choreographed the performed version (not shown) of the dance.
1.9 Papaosan Festival, NTB National Museum, Mataram, 2017. This festival showcased 16 pepaosan clubs and brought together cultural leaders, dalang, and hajjis to celebrate the enshrining of Tuan Guru Haji Zainuddin Abdul Madjid as a national hero. One man begins singing from text, the other two then enter, and one them then interprets or contemporizes the text. Then, the next segment of text is sung.
1.10 Rerantok, Senaru, 2017. Four women demonstrate the performance, deriving from the effort to separate rice grain.
1.11 Suling Dewa piece, demonstrated by performer, Senaru, 2017
1.12 Tandan Mendet, Sembalun Bumbung, 2017. This dance, performed at night and accompanied by gamelan beleq, represents the coming of the village founder (the leader, carrying a shield and sword) and entourage (carrying spears) related to the Javanese Majapahit empire. A man sings the text from a lontar narrating this story.
1.13 Tandan Mendet, Sembalun Bumbung, 2017. A second clip of the same performance showing more of the routine.
1.14 Rudat, Mataram, 2017. Abdul Hamid teaches and performs with his high school students, a mix of girls (on the left) and boys.
1.15 Rudat, staged television, Mataram, 2017. The troupe – and the entire production – was led by Amaq Ramiun (he does not appear) and held on a sound stage. The raja baik character (the good guy) is front right with a partner and fellow warriors. The ensemble is shown, which is primarily rebana but with an autoharp instrument usually called “mandolin,” that was not properly amplified; suling was not included on this day. Amaq Ramiun often took the stage during the performance and compelled me to perform as well.
1.16 Wong Menak, Wayang Wong, Sembalun Bumbung, 2017. “Wong Menak” is Jayengrana (properly Amir Hamza) from the Serat Menak stories for this night performance. He is the hero and a righteous leader. Accompaniment provided by the gamelan beleq augmented with metallophones to become a gong Sasak.
1.17 Wong Menak2, Wayang Wong, Sembalun Bumbung, 2017. The dancer uses a different Wayang Menak mask (see Figure 2.12) to perform a similar dance as 1.16.
1.18 Wayang Wong, Sembalun Bumbung, 2017. This clip features Umar Maya with two sidekicks.