Rabu, 02 Maret 2016
Gender Wayang
Gender Wayang
A gender (pronounced with a hard "g" sound) is a bronze-keyed metallaphone, similar to gangsa, but with somewhat thinner, more delicate keys. It also differs from gangsa in the way it is played. Whereas the gangsa is played with a single mallet, the gender is played with two mallets.
Gender wayang is an ensemble of four gender used to accompany shadow puppet plays, or wayang kulit. It is considered one of the most difficult gamelan instruments to play, partly because of the playing technique, but also because these four instruments, along with a puppeteer and his assistants, perform all of the duties of a gamelan group. The gender players play a slower basic melody, similar to what the jublag, jegog and penyacah would play in gong kebyar, with their left hands, while playing elaborations similar to gangsa and reyong with their right. The puppeteer, or dalang, acts as conductor, knocking a small piece of wood , called cepala, against the puppet box, giving signals similar to those given by a drummer, while he maneuvers the puppets, speaking and/or singing all their parts.
The themes of the puppet shows are generally derived from the Hindu epic, the Mahabharata. Sometimes the Ramayana, a tale of the exile of Prince Rama of Ayuda, is used as a basis of the plot, but in this case, the gender wayang is augmented with additional instruments such as drums, ceng-ceng, flute, a cluster of bells called gentorag, and many of the smaller gongs used for time keeping in other gamelan ensembles.
Gender wayang is also played as an accompaniment the Balinese ceremonial tooth filing, where a young person's teeth are ritually filed to refine his or her appearance, weddings, and other temple ceremonies.
A gender (pronounced with a hard "g" sound) is a bronze-keyed metallaphone, similar to gangsa, but with somewhat thinner, more delicate keys. It also differs from gangsa in the way it is played. Whereas the gangsa is played with a single mallet, the gender is played with two mallets.
Gender wayang is an ensemble of four gender used to accompany shadow puppet plays, or wayang kulit. It is considered one of the most difficult gamelan instruments to play, partly because of the playing technique, but also because these four instruments, along with a puppeteer and his assistants, perform all of the duties of a gamelan group. The gender players play a slower basic melody, similar to what the jublag, jegog and penyacah would play in gong kebyar, with their left hands, while playing elaborations similar to gangsa and reyong with their right. The puppeteer, or dalang, acts as conductor, knocking a small piece of wood , called cepala, against the puppet box, giving signals similar to those given by a drummer, while he maneuvers the puppets, speaking and/or singing all their parts.
The themes of the puppet shows are generally derived from the Hindu epic, the Mahabharata. Sometimes the Ramayana, a tale of the exile of Prince Rama of Ayuda, is used as a basis of the plot, but in this case, the gender wayang is augmented with additional instruments such as drums, ceng-ceng, flute, a cluster of bells called gentorag, and many of the smaller gongs used for time keeping in other gamelan ensembles.
Gender wayang is also played as an accompaniment the Balinese ceremonial tooth filing, where a young person's teeth are ritually filed to refine his or her appearance, weddings, and other temple ceremonies.
reff : http://gamelan-bali.blogspot.com/2007/10/gender-wayang.html Tags:
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