A Balinese ‘Call to Prayer’: Sounding Religious Nationalism and Local Identity in the Puja Tri Sandhya

This article examines the Puja Tri Sandhya, a Balinese Hindu prayer that has been broadcast into the soundscape of Bali since 2001. By charting the development of the prayer, this paper summarizes the religious politics of post-independence Indonesia, which called for the Balinese to adopt the Puja Tri Sandhya as a condition for religious legitimacy in the new nation. The Puja Tri Sandhya is likened to a Balinese “call to prayer” and compared to Muslim and Christian soundings of religion in the archipelago to assert how these broadcasts sonically reify the national motto, Bhinneka Tunggal Ika (“Unity in Diversity”), and participate in a sounding of religious nationalism. Although these broadcasts are evidence of a state-sponsored form of religiosity, interviews concerning the degree to which individuals practice the Puja Tri Sandhya point to an element of secularism and position the prayer as an example that challenges the religion versus secularism dichotomy in studies of religious nationalism. This article also examines the sonic components of the Puja Tri Sandhya (when it is sounded, the vocal style, and the gender wayang and genta bell accompaniment), to argue how these elements infuse this invented display of religiosity with authority and facilitate a mediation between technology, space, and local identity. Exploration of the gender wayang accompaniment in particular, further confirms the contrived nature of the Puja Tri Sandhya and demonstrates how technologies used to broadcast the prayer have had a significant impact on the gender wayang musical tradition.

Pengembangan Game Gamelan Gender Wayang Berbasis Virtual Reality

Gamelan is one of the most popular musical instruments and is admired by international gamelan residents, divided into three types, namely Javanese Gamelan, Balinese Gamelan and Sundanese Gamelan. One of the Balinese Gamelan instruments that is still used today is Gender Gamelan. Gamelan Gender Wayang has almost the same function as gamelan music in general, but the Gamelan Gender Wayang is not accompanied by other musical attributes such as dots or flutes. The purpose of this study is to develop Gamelan Gender Wayang Games Based on Virtual Reality so that this application can facilitate the younger generation in learning the Gamelan Gender Wayang music. This application allows users to feel the atmosphere of playing gamelan in general with the help of an HTC VIVE tool. This Virtual Reality Based Gamelan Gender Wayang Game Development uses the ADDIE model. There are five stages in the ADDIE model, namely Analysis (Analyze), Design (Design), Development (Development), Implementation (Implementation), and Evaluation (Evaluation). Product development with this model can produce good products, because at each phase that is passed can evaluate. Tests to find out the response of the community after using the Gamelan Gender Wayang Game Based on Virtual Reality were conducted using the questionnaire method and had results with an average percentage of 87.72% which means the application was in a very good category.

Rare Kelangon The Innovation Of Gender Wayang Colosal For Children

Indonesia is a country with a high level of cultural heterogeneity. In accordance with the State of the Republic of Indonesia’s President Joko Widodo, the country needs disruptive innovations. Disruptive innovation reverses the impossibility into opportunities and results intransformative value for the Indonesian people and nation. Disruptive innovation can also be applied in the arts. Moreover, amid the setbacks in the ethical and moral values ​​of the Indonesian nation, art offers a way to shape character. One of the Balinese arts which has succeeded in changing the character is the art of Balinese traditional music. The tradition of storytelling, traditional children’s games and songs (gending) Bali is needed in upholding moral values ​​and character education early on. For this reason, the creation of the “Rare Kelangon” which has been tested by the international public at the Cultural Performance at the IMF in Nusa Dua Bali on October 11, 2018 and the 24th National Education Day on August 25, 2019. The method used in creating this music innovative of Gender wayang was the research and development of Brog and Gall combined with Bandem and Suteja’s Balinese art creation method. There are 8 stages of creations, namely ngerencana,nuasen, makalin, refinement of the initial product, ngebah I, revision of the final refinement and ngebah II. The results of the study found that the innovations which made in the creation of Rare Kelangon works were extension types, which the invention of the development of existing products, added so that it becomes something new and valuable. The gender wayanggamelan has existed before, but to revive the genderwayang songs, a component of work which also needs to be preserved is gending rare (traditional children’s songs), traditional games, and satua (fairy tales) of the Balinese people who are also full of values ​​of character education.

Ardhanariswara: A Composition-as-Research Project for String Quartet and Dance

The written component is a critical commentary on this video 'Ardhanariswara: A composition-as-research project for string quartet and dance’: http://briefencounters-journal.co.uk/BE/pages/view/nick-gray-ardhanariswaraArdhanariswara is a musical exploration of the female-male form of the Hindu god Shiva through the medium of string quartet and choreography. The music makes use of the gendered voices of the string quartet medium, mirroring the SATB format of a choir, and also explores interlocking techniques derived from Balinese gamelan music, in particular the quartet of metallophones, gendér wayang, which accompanies shadow plays.

Aspek Musikologis Gêndér Wayang dalam Karawitan Bali

Penelitian ini bertujuan untuk mengidentifikasi pola permainan gamelan atau gender wayang pada pertunjukan wayang Bali. Gȇndér wayang terdiri dari dua pasang instrumen, sepasang gȇndér gede dan sepasang gȇndér barangan. Kedua pasang gender ini menghasilkan pola permainan yang saling mengunci (interlocking figuration) yang sangat khas. Pola permainan ini diberi nama ubit-ubitan atau cecandetan. Data diperoleh melalui pengamatan terhadap pertunjukan wayang Bali. Berdasarkan penelitian dapat disimpulkan bahwa terdapat 10 ubit-ubitan yaitu nyendhok, bolak-balik nuduk, tulak wali, bolak-balik ngutang, nyalud, uber-uberan, mulek, silih berganti, oles-olesan, dan nguluin. Sedang ritme terdapat 7 jenis, yaitu ngumad, ngambang, ngantung, kesiab, imbuh nada, imbuh gatra, dan salah gatra.