Gamelan of Java I was lucky enough to be introduced to this
fascinating, yet neglected, cultural center on
VOL. V: Cirebon Tradition in America my first trip to Java in 1976, and it has been Founded in 1369, the ancient Javanese my passion ever since. Ihave studied Cire- kingdom of Cirebon is an important cultural bon music with master musicians in the area located on the Pasisic or north coast of city'sroyal courts, as well as in the rustic the island of Java in the modern-day Indo- villages surrounding the city-the real nesian province of West Java. In the 1400's a strongholds of this ancient tradition. string of a dozen or so kingdoms was estab- In both the court and village these l~shedalong the Pasisir by the Wali Sanga, nine teachers opened their homes and their Sufi saints who are credited with introducing hearts to share their cultural treasures with the Islamic faith to Java-in part through a student from California. Some of the teaching and performing the traditional arts of music they entrusted me with has now gamelan, wayang (puppet theater) and topeng become rare or even extinct in Cirebon, (masked dancing), which they imbued with and my lesson tapes have become valuable mystical symbolism and philosophy. To this day source material for a younger generation of these traditions are regarded as a sacred in- Cirebon artists. It is to the young generation heritance from these spiritual teachers, and of Cirebon gamelan players that this record- many Cirebon artists trace their lineage directly ing is dedicated. to the the Wali Sanga. The pieces included on this CD were Cirebon is the last of these Javanese Pasisir performed in Seattle and Santa Barbara kingdoms still in existence today. Its palaces are between 1992 and 2009 by primarily inhabited by the descendants of their first American gamelan musicians. All five Sultan, Sunan Gunung Jati. For thls reason classical Cirebon genres are represented; Cirebon is sometimes referred to as the the three ancient bossiblv me-Islamic) "Grandfather of Java's royal houses."Cirebon ensembles gong rentengidenggungand was an im~ortantearlv influence on the devel- aona sekati, as well as the two forms of opment of ~avaneseak-including gamelan- 'gakelan proper," gamelan prawa and throughout the island, but its arts are little gamelan pelog, which are thought to known in modern Indonesia. have developed into their present form in the seventeenth century. TRACK 4 Sekaten (gong sekat,) Gong sekati is the most sacred form of music TRACK 1 Jipang Walik (gamelan prawa) in Cirebon and is played in the royal palace is played to formally open a concert of the only three times a year to celebrate the five-tone gamelan prawa in Cirebon. It is Islamic holidays ldul Adha and ldul Fitri, and preceded by three strokes of the large drum, Muludan. The original instruments were leading up to the powerful sound of the large brought to Cirebon from the north coast gong. The shifting tempos and lively melodies kingdom of Demak in 1521, and exude an serve as a warm-up for the musicians, and are atmosphere of delicate but impressive spiritual said to shower blessinas on the audience. Dower. (A related but distinct form, qamelan iekaten, is played in the south central Java- TRACK nese courts of Yogyakarta and Surakarta). is traditionally the first piece played in a GameIan Sinar performsthe gong performance of the seven-tone gameIan pel09 sekati music with special permissionfrom in Cirebon. "Bayem" is a meandering vine, the Cirebon royal and the melody of Bayeman winds through several patut or musical modes within the TRACK 5 Bale Bandung pelog scale. The music slows down into a (gong renteng) Gong renteng (literally free-form kebonan section, before transi- "gongs in a row") is a village ensemble for- tioning into the boldly asymmetrical Bayem merly found all over West Java, and features Tur ("Thorny Vines") melody. lively, syncopated melodies played in parale[ TRACK 3 Kaboran (gamelan prawa) is octaves by three musicians on a five-tone a classical overture piece played for the ela- single-row bonang , accompanied by various borate all night wayang kulit shadow puppet time-keeping instruments. Bale Bandung, theater in Cirebon. Often played before the meaning "Return of the Honored Guest," audience arrlves, Kaboran is played for the is often played at the beginning of a gong entertainment of the spirits-and for the renteng performance. This ancient style of enjoyment of the gamelan musicians. This is music is rapidly disappearing and the a very brief version-a complete rendition of tradition is in danger of being lost. Kaboran can last more than 45 minutes. - TRACK 6 Denggung Wawa Bango (denggung) Denggung is a ritual ensemble TRACK 9 Monggang (gameIan pelog) is a closing piece, played to evoke the style of found in the three royal palaces of Cirebon, the archaic gamelan monggang. It IS played to and may represent an ancient form of the bless the audience, and to accompany them as well-known degung ensemble played in they exit the performance with the sound of Sunda today. The palace instruments are gamelan music still gently drifting in the air. considered t o be magically powerful and, RichardNorth, Santa Barbara, G4, 2010. accompanied bv incense and saecial oravers. are played in, times of droughfto bring k i n I am forever grateful to my late teacher for the fields. DeWgung 1s now rarely Pangeran Haji Yusuf Dendabrata, who devoted played. The two pieces performed here were his life to the preservation o f Cirebon arts taught t o me at Kraton Kacirebonan in 1981 and culture. (rn) by the late P. H. Yusuf Dendabrata. Richard North has TRACK 7 Rangsang (gamelan pelog) taught gamelan at UC meaning "passionate attraction" is a rarely Santa Cruz, San Jose heard old piece sometimes played to ac- State University, company the refined dance of a noble Hawaii Loa College character in the Cirebon wayang cepak rod and North Seattle puppet theater, thought by most scholars Community College. to be the ancestor of all other rod ouooet He was Guest Editor forms found in Java and Sunda. he ielody of the December 1988 is long, calm and elegant issue of Balungan TRACK 8 PacuI Goang (aarnelan orawa) / lournal devoted to the meaning "the chipped rice hoe" is a ;harm- arts of Cirebon. He currently directs Gamelan ing melody played near the end of the all- Sinar Surya, a Cirebon gamelan group in Santa night shadow play as a gentle reminder for Barbara, and is working with gamelan mu- the farmers in the audience to get ready for sicians in Cirebon to help revive lost pieces a new day of work in the verdant rice fields from the classical repertoire. that surround the city of Cirebon. Bio by Chad Bailey Nielson RELEVANT WEBSITES: www.CirebonArts.com Devoted to the arts of Cirebon. w GarnelanSB.com Gamelan Sinar Surya's site. w,gamelancirebon.org Illatrated list of Cireoon gamelan instruments and garnelan glossary. I CAMELAN SlNAR SURYA Richard North. director Deni ~ermawan,Indonesian guest artist P RECORDINGS: Masahiro Fukudome, Scott McLeod and Jesse Snyder (Seattle), and Camelan Sinar Suva Chad Nielson, Scott Cazan and Constantijn seatt,egroup Sanders (Santa Barbara). Masahiro Fukudome, Julija Gelazis, RE-MASTERING: John Noise Manis. D. Harper-Jones, Siobhan Harper-Jones, Maggie McKelvy, Scott McLeod, Lee North, Frank Roberto, Jesse Snyder. 5anfa Barbara gmup Vantra Produdoar Magenta Arrunategui, Olga Broiles, Michelle www.gamelan.to Bobadilla, Scott Cazan, Felicia Danon North, john.nolse.manls@gamelan it Donn Howell, Edmundo Luna, Margarita Rarnirez, Nayelhi Ramirez, Vickie Schlegel, Joshua Smith. -4-