Srikandhi Dances Lengger: A Performance of Music and Shadow Theater in Central Java 9067182982, 9789067182980

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SRIKANDHI DANCES LÈNGGÈR

V E R H A N D E L I N G E N VA N H E T K O N I N K L I J K I N S T I T U U T VOOR TAAL-, LAND- EN VOLKENKUNDE

248

rené t.a. lysloff SRIKANDHI DANCES LÈNGGÈR

A performance of music and shadow theater

KITLV Press Leiden 2009

Published by: KITLV Press Koninklijk Instituut voor Taal-, Land- en Volkenkunde (Royal Netherlands Institute of Southeast Asian and Caribbean Studies) P.O. Box 9515 2300 RA Leiden The Netherlands website: www.kitlv.nl e-mail: [email protected]

KITLV is an institute of the Royal Netherlands Academy of Arts and Sciences (KNAW)

Cover: Creja ontwerpen, Leiderdorp

ISBN 978 90 6718 298 0 © 2009 Koninklijk Instituut voor Taal-, Land- en Volkenkunde No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission from the copyright owner. Printed in the Netherlands

Contents Acknowledgments

vii

List of illustrations

ix

Part 1 Background I

Cultural universals and local traditions

1

II Shadow theater as a cultural institution

19

III The temporal organization of wayang kulit

35

IV Wayang temporalities

55

V Sugino and his audience

77

VI Music and intra-cultural difference

97

Part 2 Translation Synopsis Act 1: Pathet nem

127



Interlude: Gara-gara

235



Act 2: Pathet sanga

259

Act 3: Pathet manyura Appendices I Music transcription: Overture (Talu) 339

II Music transcription: Act 1 (Pathet nem) 355



III Music transcription: Interlude (Gara-gara) 419

111

311

Contents

vi

IV Music transcription: Act 2 (Pathet sanga) 473



V Music transcription: Act 3 (Pathet manyura) 507



VI Illustrations 523

Bibliography

549

Index

559

Acknowledgments The learning, the interest, and the effort that resulted in this book would not have been possible without the help of many generous people, both in America and in Java. To my teacher and dear friend, Rasito Purbo Pangrawit, I owe my deepest gratitude for all the hours he spent working with me during my research in Banyumas. He gave up much of his valuable time in teaching and explaining Banyumas music and theater to me as well working with me in the early stages of the transcriptions. I also wish to thank Ki Sugito Purbocarito, Ki Sugino Siswocarito, Ki Taram, and Ki Darmosoewito, for their gracious cooperation, their many anecdotes, and especially their continued patience. A special thanks goes to my friend, Eko Punto Adji Hartono, who helped me throughout my stay in Java in 1986-87 and also worked with me on the text transcriptions. To each of the musicians who performed with these outstanding dhalang, I owe a lasting debt of gratitude for sharing their time, knowledge, and experience. The fieldwork that led to this study was supported through a FulbrightHays Dissertation Fellowship and a grant from the Wenner-Gren Foundation for Anthropological Research in 1986-87, and a grant under the Fulbright Southeast Asian Regional Research Program in 1994. Sponsorship for my stay in Java was kindly provided by LIPI (Lembaga Ilmu Pengetahuan Indonesia), Departemen Pendidikan dan Kebudayaan, and IKI (Institut Kesenian Indonesia) headed by Dr. Soedarsono. My gratitude goes out to Judith and Alton Becker for sharing their wisdom and time in the early stages of this project. To my friend and colleague, R. Anderson Sutton, thanks for his generosity in making available the materials he collected during his own work in Banyumas, and especially for initially sparking my own interest in Banyumas. To my students, friends, and colleagues, especially S (you know who you are), for your faith in me. Most importantly, to Deborah Wong: for being there during those best years. My sincerest thanks goes to my friend and colleague, HendrikMaier, who read a draft of this book and urged me to submit it to KITLV Press. Thank you, Henk, for your many useful suggestions and ideas. I also wish to express my profound appreciation for the patience and editorial assistance I

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Acknowledgments

received from KITLV Press in preparing this book for publication, especially Marjan Groen and Dan Vennix. Thank you for your professionalism, your good humor, and your excellent work in making this book a reality. Finally, love and gratitude to S for believing in me.

List of illustrations Appendix 6 (pp. 525-48): 1 Prabu Suyudhana, King of Ngastina 2 Dhang Hyang Durna, Royal Priest of Ngastina 3 Prabu Ajijaya Diningrum, King of Jongparang 4 Radèn Jatikusuma, Crown Prince of Jongparang 5 Patih Tenung Turanggamaya 6 Patih Tenung Turanggadhèsthi 7 Prabu Baladéwa, King of Madura 8 Sang Hyang Kanéka Putra (Narada) 9 Prabu Kresna, King of Dwarawati 10 Radèn Arjuna (Janaka) 11 Radèn Wrekudara (Bima) 12 Radèn Srenggini 13 Radèn Gatotkaca 14 Ki Lurah Togog 15 Sarawita 16 Ki Lurah Semar 17 Nala Garèng 18 Pétruk 19 Bawor 20 Dèwi Banowati, Queen of Ngastina 21 Dèwi Wara Srikandhi 22 Dèwi Wara Sumbadra 23 Gonjing Miring 24 Jaé Wana

Of self and injustice

Introduction

PART 1

BACKGROUND

chapter i

Cultural universals and local traditions Terms like ‘culture’ and ‘tradition’ are almost sacred in the fields of anthropology and ethnomusicology. They take on a performative quality in ethnographic publications and the learned discourse of academic conferences. By uttering or writing them, we pronounce an art form legitimate, worthy of our scholarly consideration. And of course the two terms – culture and tradition – must go hand in hand since one can hardly be invoked without reference to the other. Culture can be described, using Geertzian phraseology, as ‘the webs of significance’ that humans weave.1 When we use the term to characterize a social group along lines of ethnicity, religion, language, history, and so forth, it also reveals our own ideas about difference along those same lines. On the other hand, we understand ‘tradition’ as a cultural institution (a set of practices, body of knowledge, etc.) which remains more or less consistent through time, passed from one generation to the next. This implies a historical dimension and it is easy to infer, as well, that true traditions are by necessity ancient and immutable. Otherwise, we have learned, they are ‘invented’ – discursively undermined by the very same cultural impulses that gave rise to them.2 The notion of ‘traditional Java’ suggests a people bound by a set of cultural practices and knowledge that have remained fixed over time. Nancy Florida (1995:10-1) notes that ‘traditional Java’ is the nonunitary discursive world in and through which a wide variety of Javanese subjects lived over a roughly 250-year period that closed (more or less conclusively) in 1942 with the Japanese invasion of Java and the consequent sudden end of Dutch colonial domination. A world that was generated and regenerated under the conditions of colonialism, traditional Java became recognized by emerging Javanese subjects as ‘Javanese’ over the course of the nineteenth century. This heterogeneous and diverse world (or better, these worlds) became fixed as ‘traditional’ after the fact, toward the beginning of what would later be considered its end; for ‘traditional Java’ as such was born toward the end of the nineteenth century; and only in the face of its potential recession before its presumed opposite, ‘the modern world.’ 1 2

See ‘Thick description; Toward an interpretive description of culture’ (in Geertz 1973). This opening passage is drawn, in part, from Lysloff 2002.

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Srikandhi dances Lènggèr

In Java, both terms – culture and tradition – had been assimilated into the language of New Order Indonesia to control local customary practices. Placed into global circulation through ethnographic studies, tourism, and media, the terms have returned to haunt those very people and institutions scholars have sought to celebrate and protect. Javanese tradition (tradisi), as John Pemberton (1994:11) notes, ‘has emerged as a kind of meta-spook endowed with a profound appetite that virtually guarantees the reproduction of devotedly cultural desires, that is, the desire for culture.’ In other words, discreet Javanese customary practices like rituals, pre-Islamic religious offerings, asceticism, performing arts, and so on, had become thoroughly absorbed into the larger New Order modernist narrative of ‘authentic culture’ (kebudayaan asli). When I first came to the region of Banyumas, I was keenly interested in how the court centers of Yogya (Yogyakarta) and Solo (Surakarta) exerted their influence on the outlying regions of the Central Javanese province – and how those outlying regions localized such influence. Banyumas is particularly interesting because, although it has had a long history of ties with the Yogyanese palace (even while it fell under the political jurisdiction of the Solonese court), it also borders the province of West Java – or what is ethnically identified as Sunda. Once a ‘residency’ under Dutch colonial rule, Banyumas has since been divided in four smaller regencies (or kebupaten): namely, Banyumas, Cilacap, Purbalingga, and Banjarnegara. However, many people still identify these four regencies as each a part of what they call the ‘former residency’ of Banyumas (or eks-karesidenan Banyumas) because of a common lingual dialect and other regional characteristics.3 The designation is often invoked by inhabitants of the four regencies to express mutual cultural and lingual affiliation and to show they are distinct from the Sundanese people to the west and the Javanese to the north and east. This regionalism is not surprising considering the relative isolation of the area with rugged mountains to its east (the Dieng Range), west (Priangan in West Java), and north (a spine of mountains and volcanoes running lengthwise through most of Central and East Java). The coast to the south forms a natural border as well since it has no major ports and few natural harbors.4 Thus, when I speak of ‘Banyumas,’ I am referring to the larger area that constitutes these four regencies. Because of the ethnic make up of its people, its language (dialect notwithstanding), and its political history, Banyumas is clearly a Javanese rather than a Sundanese region. At the same time, however, 3

See Oemarmadi and Koesnadi Poerbosewojo (1964). The people of the former residency of Banyumas are, in fact, ethnic Javanese, but they have a unique history and a strong sense of regional identity. This is discussed in greater detail in the section, ‘On being Javanese in Banyumas’, in my conclusions (pp. 103-9). 4

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the people of Banyumas see themselves almost as a unique ethnic group. They often refer to themselves as a mixture of Javanese and Sundanese culture, making them really neither one nor the other. They are a people, with to their own origin myth, specialty foods, humor, distinct performance traditions, and even characteristic physical features. At the same time, Banyumas culture is not necessarily seen as truly Javanese by those from the court centers. My friends at STSI in Surakarta5 viewed Solonese gamelan music as gendhing Jawa (traditional gamelan music of Java) and that of the Banyumas region as gendhing Banyumasan (traditional gamelan music in Banyumas style). In the imagination of those conservatory trained musicians is, perhaps, a hierarchy of cultural authenticities, radiating out from the Solonese court center.6 The site of ‘true’ Javanese culture, its kraton (palace) has become a museum – where Javanese culture is inscribed in the sacred objects of empty power and archived in archaic script on dusty manuscripts all reflecting a kingdom whose cultural heyday began at the exact moment of its political emasculation. But, the New Order seat of Javanese Culture (read: high culture) is no longer the palace but instead STSI, once a music academy but now an institute of higher learning in the performing arts.7 STSI continues the cultural work of the palace, formalizing that hierarchy of authenticities, with Solonese arts at the center and apex, and those of regions like Banyumas relegated to the realm of peripheral and folk arts (seni rakyat). Unlike the palace, STSI has been thoroughly inculcated in the project of Indonesian New Order modernity, a narrative of orderly progress that turns tradisi into an abstract but ravenous desire (using Pemberton’s phraseology) for an equally abstract Javanese ‘culture’. Local customary practice now serves a larger state ideal, bound up in national (read: Javanese) ideology and the expansion of tourism. This same narrative has now been brought to Banyumas, where scores of school teachers and government bureaucrats armed, as it were, with degrees from STSI or its satellite academies, educate children and entire communities about cultural hierarchies: teaching them that their quaint local practices are now firmly grounded in folk tradition. 5

STSI is a widely known abbreviation for Sekolah Tinggi Seni Indonesia, perhaps translated as ‘Institute of Higher Learning in the Fine Arts of Indonesia.’ 6 The gamelan music of that other court center of Java, Yogyakarta (Yogya), was often called gendhing Mataraman – that is, an archaic style from the ancient Mataram kingdom, a style no longer relevant to modern Indonesian sensibilities. On the one hand, Mataram is recognized as the once powerful kingdom that had resisted Dutch colonial control yet, on the other, it was part of Java’s feudal, pre-modern past. 7 The school was formerly known as ASKI (Akademi Seni Karawitan Indonesia or ‘National Academy of Musical Arts’). As an institute of higher learning, STSI is recognized as a research institution.

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Srikandhi dances Lènggèr

Universalizing particularities and particularizing universals The Hindu-Javanese epic tales Mahabharata and Ramayana not only have formed literary source material for wayang kulit (traditional shadow-puppet theater) but also provided the inspiration for Java’s cultural ideology – an ideology rooted in a feudal past, however real or imagined it might be, yet prevalent to this day. In performance, however, Banyumas shadow-puppet theater revises this cultural ideology, placing it within a local framework and modifying it with local practices and social norms – a process Bruce Kapferer (1986:191) views as ‘the universalizing of the particular and the particularizing of the universal.’ The fundamental aim of this study is to examine the process that brings Banyumas particularities and Javanese cultural universalities together in a performance of shadow-puppet theater. I believe that, by translating and analyzing one performance in detail, we might better understand how Javanese universals and Banyumas particulars are brought together and transformed. This study, then, is a translation both in the specific sense of rendering Javanese narration into English and in the larger sense of interpreting those particulars and universals presented in shadow-puppet theater. It is a long look at a particular performance – one in which I try to explicate some of the knowledge an audience in Banyumas needs to understand, not only this particular performance, but other performances as well. My work is inspired by the works of Victor Turner and others who have been focusing on experiential rather than ideational aspects of culture. Until recently, Turner writes, social reality was represented in terms of static ­ideals: There was a general preoccupation with consistency and congruence. And even though most anthropologists were aware that there generally are differences between ideal norms and real behavior, most of their models of society and culture tended to be based upon ideology rather than upon social reality, or to take into account the dialectical relationship between these. (Turner 1986:73-4.)

Ethnomusicology, too, has been more concerned with ideals than with real behavior, at times stressing abstract exemplary musical products more than socially dynamic performance processes. The musical arts of Java are represented through exemplary models and idealizations that, although they may explain what a performance is supposed to be, do not always help us understand what it actually is in terms of practice. This concern for musical ideologies can be seen in the studies focusing on conceptual issues in gamelan music, for example, ‘inner melody’ (see Sutton 1978 and 1979; Forrest 1980, and Sumarsam 1976 and 1987), tempo relationships (see discussions of irama in

I Cultural universals and local traditions

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Becker and Feinstein 1984), form (gendhing in Becker and Feinstein 1984), etc.8 This is not to argue against such idealizations, however. Rather, my study will show how various cultural ideologies are put into practice locally and examine the great variance between conservatory or palace notions of musical ideals and the realities of Banyumas village performance. In the realm of shadow puppetry, aesthetic ideals are presented through books on pedhalangan, the art of the dhalang (puppetmaster). These various sources are attempts to idealize and canonize the musical and dramatic elements of this performance genre. My purpose here, however, is neither to invalidate these ideals nor to dispute past studies of gamelan music but instead to illustrate the contrasts between performance standards and their corresponding realities in the village, and to caution against the tendency to reify such abstract ideals. The underlying agenda of this study is to argue that, despite the hegemony of the courts and conservatories of Yogya and Solo, regional performance traditions are surviving – even flourishing. While textual sources seem to set standards of performance, actual praxis demonstrates the viability of regional variety and innovation. Thus, it is important that ethnomusicologists do not fall into the same old patterns of canonizing and mystifying the so called courtly traditions at the expense of rural practices. The recent attention toward regional music traditions of Java, by scholars such as R. Anderson Sutton, Paul Wolbers, and others, has exploded several of the court or conservatory derived ideals of gamelan music. 9 These scholars have shown that such established rules and norms do not satisfactorily explain the great variance found to exist in the performance practices of Javanese gamelan music. Many regions of Java simply do not follow the ‘prescribed’ norms of performance. For example, the traditional musical life of Banyumas inhabitants includes the ensemble of instruments known as calung. Made up mainly of bamboo xylophones, the calung was often described to me as a kind of ‘poor man’s gamelan’. Yet, musicians are also quick to point out that, while calung music may have perhaps begun as a kind of bamboo gamelan, it no longer remains so – it has become something new and unique. Although most instruments have similar functions to

8

For an example of this concern for ideational aspects of gamelan music taken to the extreme, see Hughes 1988. Hughes pursues the question of how so-called gendhing lampah (known individually as ayak-ayakan, srepegan, sampak, etc.) are ‘generated’ in gamelan music performance using structural linguistic models as a basis for analysis – a line of investigation begun by Becker and Becker (1979) but long since abandoned by them (see Becker and Becker 1983). Hughes posits ‘rules’ in generating ‘standard’ gendhing lampah; those that do not easily fit into his analysis are rationalized as ‘exceptions’ to the rules. 9 For example, Sutton (1986:85-8) has shown that Banyumas ideas of tempo relationships (irama) simply do not fit within conservatory standards. See also the chapter on Banyumas in Sutton 1991.

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gamelan instruments, the two featured xylophones are distinctive in sound and style. The relationship between gamelan and calung is largely historical, musicians argue. While the calung may have started as a portable and cheaper ‘gamelan,’ its practitioners have developed a distinct and rich repertoire of music. Indeed, a great deal of Banyumas gamelan music, particularly locally rooted music (as opposed to pieces that have historical links to Solo, Yogya, or other regions) is influenced by calung music – not the other way around. This is heard in the bonang parts (the two elaborating gong-chimes instrument known specifically as bonang barung and bonang panerus) and the singing (both by the female soloist, pesindhèn, and the chorus, gérong) as well as in the way the music is performed (such as the used of extremely fast tempi and aggressive, virtuosic drumming techniques). I want to point out, however, that influence runs both ways: calung performances commonly include many gamelan compositions from both Yogya and Solo, as well as Banyumas. The relationship between these two ensembles is dynamic, most local compositions are played by both types of ensembles. If we were to consider breadth of repertory, calung music is the most open ended since troupes often draw from gamelan as well as other sources, including folk and popular music. There are several calung compositions, on the other hand that are rarely, perhaps never, performed on the gamelan. Why this is so, remains unclear to me. Another distinction between the two ensembles is socially based. While some local musicians can play both gamelan and calung, most tend to specialize in one tradition or the other, and the more prestigious ensemble continues to be the gamelan (perhaps because of the hegemony of the Javanese courts and conservatories). The schism between courtly (or conservatory) aesthetic ideals and rural performance realities became especially apparent to me during my own field research in Banyumas. As I began to attend performances and study the music, I learned that idealized models for Javanese shadow-puppetry and gamelan music could not account for the distinctly Banyumas way of doing things. The ideal was there – many Banyumas performers even referred to it – and it was tempting to reduce Banyumas to a ‘regional style’ or ‘variant form’ of the Central Javanese norm. Yet, it became increasingly clear that, to talk about shadow-puppet theater or gamelan music in the region of Banyumas, I would have consider the dialectic relationships between Central Javanese ideals and Banyumas realities, even between local performance norms and actual performance practice. My study, then, will compare the hegemonizing canon of Javanese puppetry and traditional music as indicated in various written sources with local practice as observed in a particular performance. More specifically, however, it will examine how one puppeteer and his troupe of musicians transformed the culturally universal traditions of Javanese shadow puppet theater and court gamelan music, drawing from the regionally

I Cultural universals and local traditions

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specific lingual dialect, humor, and performing arts traditions of Banyumas, to articulate a uniquely regional style of performance that expresses local identity and concerns. This might very well be true of other areas of Java, including the region of Solo, but how such local matters are expressed is rarely discussed in scholarly writings of Javanese performance. This book is concerned, then, with local ways of performing dramatic narration, making music, conducting ritual, expressing humor, and communicating and understanding Javanese values and norms. It is about performing and watching wayang kulit in the region of Banyumas, west Central Java. It argues that, in this theater form, content is defined by context and that meaning is locally framed. Research methods and general background The area of my research was mainly in the Regency of Banyumas (Kebupatèn Banyumas) but included many trips to the neighboring Regencies of Cilacap (to the south), Purbalingga (to the east), and Banjarnegara (also to the east). For eighteen months (during 1986-87), I was based in Purwokerto, the present capital of the Regency of Banyumas, and lived comfortably in a kind of middle-class housing complex on the southeast fringe of town. My neighbors were made up of bankers, teachers, and local government workers who all took great pride in their suburban lifestyle. The streets and front yards were kept immaculate and a few homes even sported well-tended lawns. I was quickly absorbed into the community and, after some initial interest, was left more or less to my own devices. Since the street I lived on was a dead-end and outsiders were carefully watched, I was able to escape from prying eyes and also come and go as I pleased. I traveled mainly by motorcycle since most of my activities took me out of town – local public transportation was in general inconvenient and limited to daylight and, to a lesser extent, early evening hours. My main informant was a unique musician, called Rasito Purwo Pangrawit (throughout this study, I refer to him as Rasito) who came to be my teacher and very dear friend. Only a few years older than me, he was the drummer and musical director of Sugino’s wayang troupe, called Purba Kencana,10 and a highly regarded instructor at SMKI (Sekolah Menengah Karawitan

10

R. Anderson Sutton (personal communication) reports that the name Purba Kencana is used on cassette covers although the group’s original name is Mudha Budaya. Purba Kencana is used for marketing purposes, since it reflects the make up of the troupe whose members live near either of the districts of Purbalingga (purba) or Banyumas (kencana is the poetic equivalent for mas, or ‘gold’).

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Indonesia, the national high school of traditional music) in the town of Banyumas as well as at STSI (Sekolah Tinggi Seni Indonesia, the national institute of traditional arts) in Surakarta. He is the acknowledged leading expert on the traditional music of Banyumas and one of the unnamed authors of Sumbangan pikiran tentang karawitan Banyumasan [Contributing Thoughts on the Traditional Music of Banyumas], an important source of information on local musical style.11 When I returned to Banyumas in 1994, Rasito was completing a one-year stay in the U.S. as a Fulbright visiting artist. I learned that since my first trip to Banyumas he had completed a degree at STSI. Although he was already an accomplished musician, Rasito had no formal education beyond high school and he felt he needed additional training and education to advance his career. However, I learned recently that his advanced education and his trip to the U.S. had unexpected negative consequences. After he returned from the U.S., Rasito found that he no longer could return to Sugino’s troupe, except as a guest musician. As it turned out, Sugino had replaced Rasito with a younger drummer for a far more modest salary. The new drummer, while lacking Rasito’s seasoned skills and depth of musical knowledge, brought youthful talent and energy to the troupe. In fact, Sugino had begun replacing several older musicians with younger, and cheaper, talent. Thus, when I returned in 1994, many of Sugino’s musicians I had come to call my friends had either retired (if they were older) or were playing for other dhalang of less stature. In 1994, I also learned that Rasito had resigned from his teaching position at SMKI Banyumas shortly before he left for the U.S. Apparently, this was the culmination of ongoing tension between teachers and SMKI’s administration, particularly the rector. The school had reputedly come into hard times since student enrollment was down to a fraction of what it was during my last visit to Banyumas. In the 1980s, during Indonesia’s economic boon, the government passed several initiatives to stimulate arts education in the public schools and SMKI Banyumas drew many students because of its teaching certification program. In the early 1990s, however, most of the teaching positions created by the government initiatives had been filled and therefore student interest in traditional performing arts had begun wane. By 1994, the school was in a state of crisis: its library had no funds to purchase materials, teachers were underpaid and demoralized, and facilities had fallen into disrepair. Furthermore, the Indonesian rupiah had been devalued for the second

11 This study describes itself as a ‘working paper’ (kertas kerja) set forth by a committee formed by the local office of the Department of Education and Culture (Departemen Pendidikan dan Kebudayaan). However, officials there, and Rasito himself, told me that he assisted in compiling the material. The study is listed in my Bibliography under Departemen (1980).

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time in what was to be, it turns out, only the beginning of a long downward spiral into economic collapse. Thus, when Rasito returned from his first trip to the U.S. he found that, while his social prestige increased as a result of his education and travels, his employment possibilities decreased. In other words, he was over qualified and under employed. In 1998, however, Rasito was invited to teach gamelan at the University of Texas at Austin where he works currently. When I returned to Purwokerto in 1994, I lived at the home of Rasito, located in a middle class neighborhood of school teachers and civil servants. Selling off some of his earlier real estate investments and borrowing heavily in the late 1980s, Rasito slowly began building, section by section, a spacious new house of stone and brick on the same lot where he once lived in a small cottage of rattan and bamboo. His new home was finally completed not long before I arrived in Purwokerto and it stood out like a palace among the less consequential dwellings of his neighbors. With the additional income of his temporary employment in the U.S. he also bought an automobile and I was chauffeured around the area by his son. By the time I again visited him in 1998, he had added a second story and outfitted his home with modern electric appliances. Finally, I recently received an email message from Rasito telling me he now owns a computer and has access to the Internet. The area surrounding Purwokerto is generally quite rugged with mountains both to the north and to the southeast. The mountains to the north are dominated by Gunung Slamet, a dormant volcano and perhaps the second highest mountain (3,428 meters) on the island of Java.12 It virtually looms over Purwokerto. About halfway up the mountain is a popular domestic tourist area, Baturadèn, with a lovely park and a government protected forest. Locally, Baturadèn is notoriously popular as a tryst for adulterers and known for its thriving prostitution among the many small hotels nestled in the forests. The northern mountains form a natural barrier separating Banyumas historically from the former residencies of Tegal and Pekalongan. The mountains to the southeast are less rugged than those of the north, cut by several rivers flowing from the northeast, and therefore have not seriously hindered contact between Banyumas and the coastal areas beyond. Nevertheless, the roads going southeast from Purwokerto through this mountainous area are extremely treacherous, winding through the mountains with steep inclines on one side and deep gorges on the other. Many villages located deep in the mountains and valleys of this area are so isolated that some still remain without electricity or adequate roads although government efforts to modernize even these areas have been considerably successful. During the monsoons,

12

The highest is Gunung Semeru (3676 meters).

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bridges and roads in and around these mountains are often washed out after heavy rains and the affected areas become for all intents and purposes impassable, sometimes for several weeks. Once, after an all-night wayang performance in an isolated village during a heavy rain, a friend and I were forced to walk our motorcycles over a mile through clay mud twelve inches deep. The thick sludge made even pushing motorcycles (much less automobiles) all but impossible. We were so completely covered with red mud that we had to wash ourselves and our motorcycles in one of the many icy cold mountain streams. The car carrying the dhalang and his pesindhèn (female singers) was pushed, almost carried, through the sticky mud by scores of men and boys. Another time, while winding our way home through the mountains after a wayang performance, we were forced to go back and find an alternate route because a bridge had been washed out by heavy rains. We had to descend the mountains from the opposite side and drive around them to return to Purwokerto: a trip that should have taken two hours turned into a day-long journey. Despite the weather and relative isolation, most of the area had been receiving the benefits of Indonesia’s modernization – at least up to 1998 when the economy began to spiral downward. The government was systematically building a network of electrical power that was soon to be available to even the most remote villages.13 Mountain villages generally seemed clean and modern although many were still without electricity. When they all do become electrified it will clearly be the end of a picturesque era. Several mountain villages I drove through had street lamps all along the main road, but the lamps were actually oil burning lanterns hung on posts in front of each house facing the road. The effect was startlingly beautiful and subdued. Other villages were depressingly dark and squalid, their inhabitants seemingly impoverished and barely able to subsist. Perhaps these different villages reflect the varied local economic conditions throughout the region, certainly some areas were far wealthier than others. I was told that the general state of a village also depended on its leadership and some, like the village with oil burning street lamps, managed to maintain orderly and clean conditions despite changing economic tides. These different villages, perhaps, bear witness to how national politics (and the resultant domestic policies) are played out locally. Many of the mountain villages are located around plantations, their inhabitants making up the labor force. Clove and palm sugar are probably 13

While I was conducting my research in 1986, Sugino’s troupe once performed wayang kulit as part of a ritual celebration to facilitate the safe explosion of a mountain side in the region of Banjaranegara. The rock obtained from the explosion was to be used in the construction of a major dam that would provide electricity for the surrounding region.

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the two most important cash crops in the mountains surrounding Banyumas, and local economies depend on the vagaries of Banyumas climate. If the rainy season lasts too long and is too heavy the crop will rot in the ground, and if the area experiences a drought the plants will die before they are fully grown. Most years, however, yield a fairly good crop and many villages have at least one successful plantation owner who may hold a wayang performance to celebrate the harvest, a life-cycle event (birth, circumcision, or marriage) within his immediate family, the fulfillment of a vow he (rarely, she) made sometime in the past, or some other important event. I learned recently, however, that many of these plantations went out of business with Indonesia’s economic collapse in 1998, forcing entire villages into poverty and destitution. As a result, there are now (in the year 2002) far fewer wayang performances. On the other hand, some villages had been left largely unscathed by Indonesia’s economic troubles, perhaps they were too poor to be affected by national trends and simply continued with subsistence farming. Much of my research time from 1985 to 1987 was spent visiting these many villages either to watch, or participate in (as a guest musician, of sorts), wayang kulit and other performances, or to interview local performers or experts. During my first field research, I traveled to these sometimes remote areas either by motorcycle, driving a heavy and large framed Kawasaki with a rather small 200 cc engine (larger motorcycle engines are generally prohibited in Indonesia), or riding with the troupe in their somewhat cramped (at least for me) minibus. When I returned to Java in 1994, I traveled in Rasito’s automobile. Although this proved to be convenient and relatively comfortable, it also increased the social distance between me and the some of the people I interviewed. While my Javanese friends saw this as natural – I was, after all, a university professor at this point – I felt vaguely uncomfortable with my new found status and missed the more relaxed social interactions of my student days. I spent my time mainly with one troupe in particular, that of the dhalang Ki Sugino Siswocarito, known by local inhabitants simply as Sugino.14 He was clearly the most popular puppeteer in the entire region and his gamelan troupe was considered outstanding. Although Sugino was by far the most well-liked dhalang, he was not the most respected nor was he regarded as the best. The dhalang viewed as the most knowledgeable and skillful was Ki Sugito Purbocarito (known as Sugito or ‘Pak Gito’) who, unlike Sugino, descended from a long line of highly regarded puppeteers. It was difficult, at first, to decide on whom to focus my study: the most popular or the most 14

Mixing familiarity with respect, those who knew Sugino referred to him as ‘Pak Gino’. The word Pak (from bapak) literally means ‘father’ and is used in this case as a title of respect. The name Gino is derived, of course, from Sugino.

12

Srikandhi dances Lènggèr

respected dhalang in the region. Perhaps another, more conventional, study would have focused upon Sugito, since his restrained style and concern for established norms would have approached the ideals of shadow puppet performance. Yet Sugito was not even remotely as popular as the apparently more innovative and relatively unrestrained Sugino, and I felt that his artistic conservatism might not best represent the performance realities of Banyumas wayang kulit. It was Sugino, not Sugito, who was most emulated by other younger dhalang. Aspiring puppeteers spoke of Sugito’s skill and knowledge with admiration, but they all, almost without exception, imitated Sugino. To try to understand Sugino’s popularity, I simply stayed with the group members and accompanied them to all their performances. This led to an unspoken agreement between the dhalang and me. I was allowed to travel with the group, documenting as much as I wanted and in whatever way I pleased, but I was obligated to perform on command – especially during the gara-gara, the interlude in the story late in the evening when the clowns come out and the dhalang takes requests from the host and his guests. This arrangement seemed to be beneficial to both of us: I was free to observe and document while he enjoyed the status and prestige of having a foreign researcher in attendance. Sugino carefully exploited this relationship, milking it for everything he could. He always announced my presence to his audience and publicly requested I play in a piece or two with the group, such as Jineman Uler Kambang – a short but virtuosic gamelan composition that features female singing and only certain soft-style instruments. After the piece, he always explained (through one of the clowns) to the audience that I was an American researching Banyumas wayang kulit and able to play all the instruments of the gamelan (calling me a niyaga, or professional gamelan musician), sometimes adding that I spoke perfect Javanese and could even mayang (that is, perform as a puppeteer). While his hyperbolizing certainly felt flattering, the underlying message was, of course, clear. In my supposed knowledge and sophistication, I had chosen Sugino and his troupe as exemplary Banyumas wayang kulit and gamelan accompaniment. He also enjoyed and thoroughly exploited the novelty of having the rare landa (white foreigner, the word originally referring to the Dutch or wong Welanda) and the only researcher in the region following his performances. My presence lent his troupe a bit of exoticism (a curious reversal of stereotyped roles) that added, I was told, to Sugino’s reputation and charisma among local inhabitants. The hosts for the many performances I attended, as a kind of foreign mascot, were sincerely pleased to find me among the members. Many insisted I come inside the house to sit and chat with the guests during the performance, or sometimes even deliver a speech. I usually tried to avoid this rather tedious duty or returned to the stage as soon as etiquette allowed because I was especially interested in the performance itself and the mass of villagers that

I Cultural universals and local traditions

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constituted the spectators outside. I came to appreciate the prestige related to my presence during the latter part of my research, when I accompanied the troupe less often in their travels: Sugino himself sometimes dropped by my home to insist that I participate in a particular performance because the host specifically asked for me. Occasionally, Sugino invited me to accompany him in his own car (Sugino was chauffeured, along with his favorite pesindhèn, separately in his automobile or in another minibus). For every performance, a total of three vehicles were used to transport the troupe and its paraphernalia: one for the dhalang and his pesindhèn (either a car or a minibus), a small bus for the musicians, and a van for the musical instruments, puppets, and amplification equipment. The van with the instruments always left for the performance location earlier in the day, the time depending upon the distance, with the soundman and two assistants to set up the gamelan, the screen and puppets, and the amplification. The whole production seemed, in my mind, much like a rock concert. Less popular dhalang and their musicians traveled by whatever means they could, sometimes even by public transportation. Sugino, however, was clearly a major performer and the massive effort needed to set up his performance suggested he was in a different league than most other dhalang. Indeed, like a rock star, he generally remained unseen until he was ready to begin his storytelling (other dhalang often performed with the musicians in the concert before the actual wayang performance), arriving with an entourage of the youngest and most beautiful female singers. His shaggy hair was rather long in back and he often wore outlandishly colorful clothes (at least to me). One of my American friends visiting me in the field remarked that he looked surprisingly similar to James Brown during the height of his Motown career. All in all, Sugino painted an imposing picture carefully designed to enhance the mystique that surrounded him. If the ritual was for a village-wide celebration, such as village spirit cleansing (bersih désa), or if the host was particularly wealthy and felt the need, two performances of wayang kulit were held – one in the daytime and one at night. Daytime performances were generally regarded more as a kind of offering than entertainment, directed mainly toward an unseen audience of spirits. In any case, Sugino considered them far less important than his nighttime performances and always delegated one of the troop members to perform in his place. Many of Sugino’s higher paid musicians were not involved in daytime performances, leaving them to the lower ranking musicians of the troupe and artists from the immediately surrounding area. The pay was far less for daytime performances than those in the evening, and the audience and spectators tended to be mainly children and a few adult passersby. During the course of the day, the host was visited by guests who stayed only briefly, rarely watching a wayang performance with any sustained interest.

14

Srikandhi dances Lènggèr

Nevertheless, such a daytime event provided less experienced (and skillful) dhalang with an opportunity to perform. If the village or some institution was the host, then various daytime activities, such as pole-climbing competitions or badminton tournaments among employees, were held in addition to the performance. On the other hand, many wealthier institutions and individuals sometimes held performances of èbèg (hobby-horse trance-dance) during the daytime, with wayang kulit at night. These often attracted fairly large village crowds, possibly because trance seems to fascinate many local Javanese. The big event of course was the performance by Sugino. Although other dhalang, such as Ki Sugito Purbocarito and Ki Taram, also attracted fairly large audiences, none could match the sheer numbers of spectators that came to see Sugino – and stayed through the entire night. The musical and theatrical elements were far more carefully coordinated in his troupe than in any of the others, and this might have contributed to his tremendous popularity. Another reason might be that Sugino seriously tried to give the audience what they wanted: good entertainment. Indonesia has recently become more and more immersed in television culture and this has undoubtedly changed the role of the traditional arts. Television, movies, and the secularization of wayang kulit and other traditional art forms through Islamization and Indonesia’s modernization, has presented the dhalang with more challenges to maintain the interest of increasingly sophisticated (or, perhaps more accurately, jaded) village audiences. Nonetheless, despite the rise of media technologies, wayang kulit is still extremely vital in Banyumas, even in the face of Indonesia’s rapid changes.15 My other main informant was Radèn Soepardjo, a talented artist (in puppet making, pen and ink drawing, and painting), an elderly local aristocrat (a direct descendent of the Banyumas regents and a retired government official) and scholar knowledgeable in local history, lore, and culture. Sadly, Pak Parjo (as his friends called him) died shortly after my return to the United States from an illness that began during my final few months in Java in 1987. He was also one of the two artists I commissioned to draw the illustrations of Banyumas-style puppets shown in the appendix to this study. We spent many pleasant afternoons together sipping tea or coffee discussing the various unique characteristics of Banyumas puppetry, puppet-making, dialect (as opposed to Javanese language), history, food, humor, religious practices, and many other topics. Another important informant was Dhalang Ki Sugito Purbocarito, the acknowledged master of wayang kulit in the Banyumas region and Sugino’s

15

For more on traditional wayang within a changing Indonesian society, see further Anderson 1965. J. Becker (1980a) discusses the place of traditional gamelan music in modern Indonesia.

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main rival puppeteer. Pak Gito, as he is affectionately called, is locally and nationally recognized as the leading expert of Banyumas style shadow puppetry. He is one of the principle authors of the book, Pathokan pedhalangan gagrag Banyumas [Principles of the Art of Wayang in the Style of Banyumas], an important source of information on Banyumas shadow puppetry.16 Other informants included the members of Purba Kencana (his troupe), Dhalang Ki Taram, and Dr. Sudarmadji (a medical doctor and local historian, as well as expert on local genealogies). A crucial general informant was the internationally known Indonesian author, Ahmad Tohari, whose novels brought the region of Banyumas to the world. His outstanding novel, Ronggeng dukuh paruk (‘The dancing girl of Paruk village’) has been translated into several languages (including Dutch, German, Japanese, and, more recently English). I first met Pak Tohari, as he is called, in 1986 after learning he lived close by. I found out that he had moved back to his birthplace (the village of Tinggarjaya, about a half hour drive from Purwokerto) after living in Jakarta for several years. Meeting him was extremely fortunate for me since he not only knows a great deal about the region (indeed, in some ways, his novels read like ethnographies) but he is also an extremely intelligent and well educated man. I often visited him to discuss my research and his insights have been invaluable. Finally, Sugino, whose wayang performance I translated for this study, was also a supportive albeit somewhat enigmatic friend and informant. I occasionally visited him at his home, during those rare times when he was not performing. My meetings with him were often filled with long and somewhat uneasy silences. When he did talk, it was with a voice raspy and tired from many performances. I had the impression that all of his energy went into performing since he seemed so animated behind the puppet screen yet almost lethargic off stage. Yet, Sugino is known to be reserved and cautious in his social relationships. Despite his local fame, his notorious pleasure in gambling, and the myths regarding his sexual charisma among his female singers, I found Sugino to be shy and self-effacing. A man of few words, he spoke honestly about himself and the tradition; indeed, I heard little of the competitive posturing so common among other dhalang. Some notes on the translated performance The transcription and translation used in this study are based upon an eight-hour commercial recording of a studio performance that Sugino and 16

This book is authored collectively by members of the local chapter of Sekretariat Nasional Pewayangan Indonesia (National Secretariat of Indonesian Shadow Puppetry). The reference is listed in my Bibliography under the acronym, Sena Wangi.

16

Srikandhi dances Lènggèr

his troupe made in December 1985 (Kusuma Recording KWK 097, entitled Srikandhi Mbarang Lengger). In 1998, I visited the Kusuma recording company in Klaten and purchased the master tapes and all rights to the recorded performance. While I retain rights of distribution, copyright ownership belongs to Purba Kencana under the guardianship of its past musical director, Rasito Purbopangrawit. All royalties from this book and the recording will go Rasito. There are, of course, a number of other studies that examine wayang kulit performances in their entirety.17 Few, however, attempt to unpack one particular performance while also providing detailed background information on the tradition and the people involved in performing wayang kulit. The only study thus far to provide a transcription and translation of an entire performance is the recently published work by Andrew Weintraub (2001). Weintraub provides a superb recording (on a set of six compact disks, released through Multicultural Media), along with well-written and carefully researched (albeit brief) background notes, of a complete performance of Sundanese wayang golèk (three dimensional wooden puppetry), another extremely important tradition of puppet theater in Indonesia. Future scholars may want to compare my study with that of Weintraub’s (since both include audio recordings along with text transcriptions and translations).18 When I decided to make a transcription and translation of an entire performance of wayang kulit, I realized I needed to hear the dhalang, the female singers, and the gamelan musicians with approximately equal definition. My two microphones and small cassette tape recorder (a Sony Walkman Professional) could not possibly have provided the clarity and quality of sound reproduction necessary for such a task. Furthermore, live performances in Banyumas are filled with a variety of ambient noise: the audience ­chatter,

17

See, for example, Arps 1987; Brandon 1970; Feinstein et alia 1986; Pink 1977 and Weintraub 2001. Arps provides a recording, with summary notes, of an abbreviated version of wayang performed in Holland; Brandon’s well-known study contains what might be considered textual ‘scripts’ for (as opposed to transcriptions/translations of) three abbreviated and idealized performances of wayang. Feinstein et alia is a major work (in three volumes) with textual transcriptions (without translations) of different versions of several stories as well as summary plot outlines of numerous other stories. (Note that this study was prepared as a kind of resource, mainly for Indonesian/Javanese researchers.) Pink provides a transcription and translation (into German) of a wayang performance, along with detailed notes and annotations. However, it contains some modifications to the narrative, made at the request of the puppeteer, and does not include a recording of the performance. The most significant work is that of Andrew Weintraub (2002). His recording and notes of a Sundanese wayang performance also include (as electronic files on one of the compact disks) the transcription and translations (in English as well as Indonesian) of the Sundanese narration. 18 For more details on Sundanese wayang golèk, see Weintraub’s PhD dissertation (Weintraub 1997).

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signals of food and toy vendors, nearby motorcycles and automobiles, rain drumming on the corrugated roof of the stage, booming echoes of the amplified voices of the dhalang or singers, and so forth. Commercial recordings are ideal for study because they are made in sound-proof studios with few extraneous sounds, using as many as sixteen microphones, a multiple-track mixing board, and other high quality electronic equipment. To be sure, the recorded performance is not ‘live’ since it did not take place in a natural setting (that is, outside on a temporary stage and in front a large audience of village spectators) nor was it part of a larger ritual event. However, Sugino performs for studio recordings much like he performs for ‘live’ situations: he narrates continuously for eight hours, without rest and without re-recording a single utterance. He is also clearly aware of the distribution of his commercial cassette recordings – they are sold almost exclusively within the Banyumas region. In other words, Sugino’s recorded performances, like his ‘live’ performances, are aimed specifically at a Banyumas audience. These arguments, then, make up my rationale for choosing to use a commercial cassette recording as the source for my transcriptions and translation. My general comments and discussions, however, are based upon interviews and observations I made in Banyumas during my initial fieldwork of eighteen months in 1986-87 and again when I returned to conduct follow-up research in 1994 and 1998. Altogether, I watched almost one hundred different ‘live’ wayang kulit performances, most of them by Sugino but many also by other dhalang, and I discussed these performances with both my main informants as well as other musicians, dhalang, and audience members. Thus, my study closely examines a ‘product,’ the commercially recorded performance in transcription and translation, and a larger process, the performance event. Most important, my study attempts to get at the locally framed knowledge needed to understand both the performance and the performance event. I translated the title of the recording as ‘Srikandhi Dances Lènggèr’ to emphasize the intersection of Javanese universals (Srikandhi, a heroine from the ancient Hindu-Javanese epic, Mahabharata) with local particularities (the uniquely regional performance tradition featuring female street dancers/ singers, known as lènggèr). While similar stories are told in other regions of Central Java, and while the performance is in many aspects quite conventional, it is also clearly aimed at a local, specifically Banyumas, audience. As the title makes clear, this version of the story assumes specific kinds of knowledge that are locally oriented, based on practices and social values unique to the Banyumas region. The title might be literally translated into English as ‘Srikandhi performs as an itinerant dancing girl,’ or perhaps ‘Srikandhi wanders about as a danc-

18

Srikandhi dances Lènggèr

ing girl,’ but I have chosen to simply call it ‘Srikandhi dances lènggèr.’ I have intentionally left lènggèr in its Javanese form because the term means more than ‘itinerant female dancing.’ It refers to a performance tradition (discussed in detail later on) peculiar to the region of Banyumas and connotes a distinctively local perspective of wayang kulit. Thus, the title, ‘Srikandhi dances lènggèr,’ takes on a much deeper significance: Srikandhi, a major character in the Hindu-Javanese epic Mahabharata, becomes an itinerant dancing girl in the Banyumas dance tradition known as lènggèr.19 It reflects and highlights the intriguing juxtaposition of cultural universals and local particulars featured in this and all performances of Banyumas-style wayang kulit. The story I transcribed and translated is well-known among local fans of wayang kulit and has been performed, at one time or another, by many dhalang in the Banyumas region. It is about adultery, abduction, revenge, and divine retribution in a characteristically Banyumas fashion – that is, with considerable humor at times. In the story, Srikandhi, the wife of the great warrior knight Arjuna in the Mahabharata, becomes a wandering dancing girl to save her husband who has been abducted by a foreign king. She is accompanied by her faithful clown servants, Pétruk, Garèng, and Bawor, who act as her musicians. However, this theme only constitutes a small part of a larger story of political intrigue between two warring clans, the Mahabharata (discussed in Chapter II).

19

For a more detailed description and discussion of the tradition of lènggèr, see my commentary (as a footnote) to item 818 in the English translation.

chapter ii

Shadow theater as a cultural institution Performing wayang kulit in Banyumas

In Banyumas, as in most of rural Java, a performance of wayang is generally held not in a concert hall or theater but at the home of the person who sponsors it to celebrate the harvest, a life-cycle event (birth, circumcision, or marriage) within the immediate family, the fulfillment of a vow made sometime in the past, or some other important event.1 To prepare for the performance, the sponsor may have one wall of his house entirely removed if it is built of bamboo and rattan, as many village homes are. Once this is accomplished a covered stage is constructed against this opened part of the house. A large screen of white fabric is set up between the house and the stage so that the host and his invited guests can watch the shadows perform from the inside. The dhalang sits cross-legged on the other side on a dais slightly lower than the screen with a powerful electric lamp above him to cast the shadows of his puppets. In front of him, directly underneath the screen, are at least two long banana tree trunks in which to plant the puppets. The troupe also sits crosslegged on the larger stage somewhat below the dhalang, and around them uninvited village spectators stand or squat on the ground. Thus, those inside the house watch shadows while those outside watch the actual puppets. Performances are rarely, if ever, advertised: one simply finds out about them through the grapevine. I often heard about other wayang kulit performances from the musicians of Sugino’s troupe, since some of them played with other dhalang. Generally, however, word travels fast and most grass-roots locals, such as becak (pedicab) drivers, farmers, gas station attendants, etc., know of planned performances even many miles away. What draws them to the performance is the dhalang. This is not to suggest that audiences are 1

Sometimes performances are sponsored by local government or private institutions. In such cases, they are held outside on a temporary stage, often constructed from bamboo and wood. A special enclosed area (on the shadow side of the screen) is made for invited guests while spectators watch from an open lot or field behind the puppeteer and his gamelan musicians.

20

Srikandhi dances Lènggèr

not interested in the story – they are. But they are especially interested in how the story is presented, in the dhalang’s ability to sustain their interest. It is through his interpretation (that is, his own performance) of a story that a dhalang can show his individuality. Another performance of this same story, even by the same dhalang, would likely be significantly different in its details, even while remaining true to the overall plot. Like most wayang plots, the tale of Srikandhi Dances Lènggèr takes place within the larger narrative context of the Mahabharata. Adult audience members come to a performance with sufficient knowledge of the Mahabharata (that is, the conflict between the Kurawas and their cousins, the Pandhawas) to understand that the larger narrative culminates in the final war known as the Bratayuda. Furthermore, members of the audience also have a relatively sophisticated understanding of the genealogical background of most of the major characters and even some of the minor ones. Thus, most audience members come to a performance knowing both the basic story and the characters. Yet the entire story of the Mahabharata, or even an episode of it, is rarely performed in village wayang kulit. Instead, the Mahabharata provides the literary context for hundreds, perhaps even thousands, of spin-off stories that have come into being since this epic was first embraced by the Javanese. Those stories thought to be based directly upon some event or scene in the Mahabharata are known as lakon pakem, primary or ‘trunk’ stories. The others are generally referred to as lakon carangan, derivative or ‘branch’ stories. Often the distinction between these two types of stories is not clear. Some puppeteers refer to those stories included in Ranggawarsito’s Pustaka raja Purwa and other written sources as primary stories although many are clearly Javanese creations.2 Both of these types of stories are informed by an aesthetics that is more concerned with situational and conceptual intersections than with character development and causal sequences as such. In other words, a wayang kulit plot revolves more closely around questions of how and where than those of why and when. The main characters are not ‘developed’ as they are in Western drama, nor are they transformed by their experiences in the story. They simply are who they are. If we were to judge shadow-puppet theater by Western aesthetics of drama, we would find the characters lifeless and without depth, like comic-book heroes. We also would find a perhaps strange lack of concern over motive and intent. The priest Durna, for example, brings about sorrow with his deeds, to himself as well as others, but his punishment for such deeds will not change him for the better or worse. We do not see 2

For a detailed discussion of wayang texts in general and trunk and branch stories in particular, see Sears 1986 and 1996. Feinstein et alia 1986 includes discussions and extensive transcriptions of texts to several branch stories (in Javanese and Indonesian).

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Durna ‘becoming’ anything. He simply is who he is. Like all wayang characters, Durna acts the way he does simply because it is, and always has been, in his nature to do so. Characters are seemingly driven by forces beyond their control and the consequences of their actions sometimes disrupt the universal order of things. Wayang plot is oriented around the conflict that is generated by the intersection of such opposing or incompatible actions – actions that are inevitable in the universe of wayang stories. The forces that drive a character to act the way he or she does form the very essence of that particular character. Unique characters are hardly differentiated from character type. One might argue that characters become distinctive not in the way they transcend archetype but in how they come to embody archetype. Heroes behave the way they do because they are heroes, priests because they are priests, gods because they are gods, and so forth. As A.L. Becker (1979:224) argues, character types are all made up of distinct epistemologies. Indeed, plot structure is built primarily around, as he points out, coincidences of the epistemological make-up of gods, heroes, clowns and ogres: All these epistemologies coexist in a single wayang, and others may be added (most usually the epistemology of the Islamic saints, that of the modern military, or that of some strange foreign land where one of the clowns goes to be king, like Gulliver among the Lilliputians). Between each of these epistemologies there may be – and usually is – a confrontation and a perang, a battle. No one ever wins conclusively, but rather a proper balance is restored.

Wayang, then, is made up of multiple conceptual worlds, and the intersections of these worlds – these epistemologies – form the crises at the heart of its plots. An important event in a plot may occur outside of the narration and only come into play when its outcome intrudes upon a narrated situation. The story of Srikandhi Dances Lènggèr revolves around the relationship between the Pandhawa hero, Bima (known also as Wrekodara), and his illegitimate son, Srenggini. Bima’s cruel rejection and violent exile of Srenggini is not narrated or enacted in this story – yet it forms the crux around which the entire plot pivots.3 Indeed, it constitutes the core conflict in the story, the cause for turmoil in the cosmos of the wayang world, but we learn about it only after we are informed of its impact on the kingdoms of Ngamarta and Ngastina – well into the performance. We discover that the semi-divine Bima – son of Sang Hyang Bayu, god of the wind – has had an affair with a maiden who later gave birth to his child. Bima is apparently unaware that the

3

The story of the birth of Wrekudara’s son, Srenggini, is in fact the plot of another wayang story which is continued by this one.

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Srikandhi dances Lènggèr

maiden, Rekatawati, is the daughter of one of the eldest of gods, Sang Hyang Rekatatama. Or, if he did know this, he gives no indication – perhaps because of his nature not to bow before any king or god(ess). In her mortal incarnation Rekatawati has taken on characteristics of the river crab, the yuyu. These characteristics were then passed on to their son, Radèn Srenggini, who carries the pincers of a crab on his head.4 While Bima may or may not have been aware of her lineage, it is clear that he had no idea his affair with Rekatatawati resulted in a son. Nonetheless, he at first gladly welcomes Srenggini into his household when his son cures him of a mysterious illness. Later, however, he brutally beats Srenggini and then banishes him at the advice of his longtime spiritual teacher, the sly and manipulative priest Durna. Shortly afterwards, a divine but mysterious curse falls upon the kingdom of Ngamarta where Wrekudara and his brothers live. It is at this point where the story actually begins. If some audience members don’t already know this particular story (I was told that it has been around for at least two generations), they would know, in any case, important background details. Each character embodies its own story and, by knowing a character, an audience member will likely know at least one story belonging to it or to other, associated characters. For example, knowing the character Srenggini might entail being familiar with this particular plot and possibly other plots arising from Srenggini’s relatives and friends. We might argue, then, that plots, especially of the derivative type (lakon carangan), are developed through characters – a interesting reversal of Western dramaturgy where characters are developed through plot structure. We might also speculate that, given the number of different wayang stories being performed throughout Java (because new stories continue to be created, this number is growing), almost every named character (as opposed to generic character types) has a prominent role in at least one story. Popular characters like the well-known Pandhawas (especially Wrekudara and Arjuna) probably have a major role in hundreds of wayang stories. Audience members know, then, who Bima is and, because he is a popular character, they know from prior stories that Bima always blindly follows the advice of Durna. They also know that Durna, who was once the spiritual teacher of the five Pandhawa brothers, has remained in the Kingdom of Ngastina after it was lost to the Kurawas. From other stories they know that Durna has become the royal priest and spiritual advisor to Duryadana, eldest of the one hundred Kurawas (ninety-nine brothers and one sister) and now king of Ngastina, and that Durna, motivated by his greed and lust for power, has turned against the Pandhawas. In Banyumas wayang, Durna is clearly

4

See the drawing of Srenggini and other characters of this story in Appendix VI.

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aligned with the Kurawas and his ultimate goal is for them to win the final war, the Bratayuda.5 The audience knows, however, that he will ultimately fail, because they know the outcome of the Bratayuda. To use a modern and perhaps crude analogy, imagine a TV series based upon another older TV series that was in turn based upon, say, a movie about the epic of Troy which, in our imagined scenario, everyone had watched or heard as a bedtime story or read about in a book. Audience members watching this series would have watched at least some installments (or reruns) of the older series (and may thus know characters not featured in the original epic but made prominent in the older TV series), but everyone certainly would know the overall outline of the original epic and indeed everyone would be closely familiar with the personal stories and genealogies of major characters, for example, Helen, Paris, and Achilles. The context for each installment, no matter how far it strays from the original epic, is provided by references to past stories, to the movie, and ultimately to the epic itself. Even if Paris only made a cameo appearance in an installment, his brief presence would provide the reference to the epic which would automatically form the contextual background of that plot. Thus, in watching a performance of wayang, audience members usually learn nothing new about established characters nor, in fact, are they particularly concerned about what story is being performed. In Banyumas, if not throughout village Java, audience members are not usually informed beforehand of the story being performed. Even performers accompanying a dhalang may not know which story he has chosen to present until it is well underway. This is not to suggest that audiences are not interested in the story. Fans of wayang usually know most of the stories performed from previous performances. Those who don’t know a particular story often find out about it from knowledgeable fans at the performance of that story. What is particularly important to audiences is how the story is presented, the dhalang’s skills in comedy, characterization, puppet manipulation, singing, and so forth. The dhalang, of course, tries to avoid reruns (so to speak) in presenting his stories. It would reflect poorly on him to perform the same story repeatedly in one area. Sugino, for example, is very careful to keep track of when and where he performed each of his stories. He generally maintains an active 5

In traditional wayang kulit performed in the Solo and Yogya areas, Durna is an ambiguous character who loves both the Pandhawas and the Kurawas equally, but chooses to side with the Kurawas in the end. In the Banyumas area, however, he is a rather despicable elderly (but powerful) priest whose evil plots usually backfire on him, often with comic results. In this story, there is a scene in which he is whipped like an animal as punishment for his misdeeds. I noticed that the scene was somewhat disturbing to the audience (since Javanese have a profound respect for the elderly) until it became clear that the young prince whipping Durna was in fact a god in human disguise.

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repertory of about six to ten stories but has a total repertory of fifty to sixty.6 Each story is kept active for approximately one year. When he feels a story has been performed enough, he replaces it with another, returning to it only after several years. A dhalang may continue to increase his total repertory by learning other stories, although he is less inclined to do so as he grows older.7 Many dhalang learn stories through various written texts in the form of published handbooks or handcopied manuscripts. These texts (called balunganing lampahan) usually provide a plot outline and lists of characters for each scene; many (especially those that are published) also include musical notation and song texts as well.8 Stories found in published handbooks are, however, quite well-known and audiences – at least in the Banyumas area – might be more critical of a performance of one of these since it could be easily compared to other performances of the same story. Furthermore, published handbooks have acquired authority as definitive sources of wayang storytelling and to perform a story drawn from these handbooks would invited comparison between the performed version and the ostensibly more authentic written version. Because of this, such stories are therefore usually performed either by students or by the most accomplished masters. Those stories found in handcopied manuscripts are generally less widely circulated and therefore more likely to be performed by professional dhalang. They are also in the form of plot outlines and passed from teacher to student or father to son; some, I was told, are bought from acknowledged masters by ambitious younger dhalang. Sugito gave me several of his stories (some he created and others were passed on to him by his father-in-law) with the stipulation that they were not to be shown to other dhalang. They contain plot outlines and the cast of characters of each scene. As I said before, a young dhalang can build his repertory by simply watching other dhalang. The story by itself does not have any special relationship to the dhalang, except that it is part of his repertory.9 It is through his inter6

Sugino is quite secretive about such matters and this number is drawn from his drummer, Rasito. His competitor, Sugito, on the other hand, blithely claimed that he, himself, knew hundreds of stories. Another dhalang I interviewed, Taram, refused to say how many stories he knew, only that they were many. I believe, in any case, that fifty to sixty is about average in the Banyumas area. 7 When Sugino was younger, he learned many stories by watching other dhalang perform, but now he would no longer even consider this method. It is something that only young and student dhalang do. Rasito noted that Sugino, however, may occasionally buy cassette recordings of other dhalang. Sugino has not been known to create new stories, although other dhalang such as Sugito and Taram have each created several. 8 The term lampahan is the formal word for lakon, or ‘plot’. Balungan means ‘skeleton, outline’, and the ing suffix might thought of as ‘of’. 9 Some stories are attributed to specific dhalang, but these are known only to other dhalang

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pretation (that is, his own performance) of a story that a dhalang can show his creative individuality. Because of that, two dhalang of the same area can perform the same story without necessarily competing against one another. While I was in Banyumas, I saw Sugino and Sugito both perform the same story within a one month period. Since their renderings were quite different this did not seem to bother anyone, including the two dhalang. On the other hand, Sugino once became furious when he learned that Sudjono, a younger dhalang from Cilacap, was performing the same story as he was. I learned later that this angered Sugino because Sudjono was known to imitate him. If he performed the same story as Sugino, it meant that he performed it very much like Sugino.10 Banyumas in the recent history of wayang kulit Aside from some recent conservatory experimentation (such as wayang padat, or ‘condensed wayang,’ sometimes performed at STSI in Solo),11 change in the performance style and content of wayang kulit seems to occur in small increments. The tendency of most dhalang and wayang audiences is to reject radical innovative changes in performance style and content. Nevertheless, wayang kulit has changed significantly over the years, at least according to Banyumas dhalang and other local experts. Banyumas-style wayang kulit has probably had unique elements for several centuries but it has undergone relatively radical changes only in the past several decades. My friend and informant, the late Radèn Soeparjo, told me that formerly Banyumas wayang puppets were relatively large and the refined characters gazed downwards, generally almost identical to the puppets of Yogya. Since the 1920s, however, the overall size of the puppets has grown smaller and many of the refined characters appear less humble (the head somewhat less inclined than those puppets of the Solo and Yogya areas). Soeparjo stated that they were made this way to reflect the more forthright and direct nature of the Banyumas people. Among the clowns, several appear to have been more radically transformed. Sarawita, Togog’s sly and malicious cohort, has changed from fat and large to small and skinny, wearing a knit shirt and carrying a tradi-

since most audience members are not concerned with authorship. It’s my impression that when something is made public in village Java, its contents are viewed as public domain. 10 The upshot was that, not only was Sudjono good at imitating Sugino, he had also succeeded in hiring Sugino’s favorite female vocalist, Suryati, who performed with him whenever she was not singing with Sugino’s troupe. Her reputation was so highly regarded, since she had performed with the late renowned Ki Dhalang Nartosabdho, that Sugino could not afford to drop her for what he considered an act of disloyalty. 11 STSI refers to Sekolah Tinggi Seni Indonesia (Indonesian Institute of Performing Arts).

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tional Banyumas dagger known as kundhi.12 In Solonese wayang Sarawita often speaks in Indonesian while in Banyumas wayang he uses a heavy local dialect of Javanese. The clown Pétruk appeared for awhile in an unusual form. He was also known as Lengkur (referring to his slouching posture) and depicted with a tattooed face,13 carrying an opium pipe on his belt instead of the traditional Javanese dagger (kris) and sporting a cigarette behind his ear. Recently, his appearance changed again and now he is almost identical to his Solonese counterpart. Similarly, Garèng was once made with an open mouth and carrying a Banyumas kundhi but now he seems hardly different than his Solonese and Yogyanese version. Certain other wayang characters (or variant forms of widely known characters) are found only in Banyumas. Srenggini has already been mentioned, and others include the ogres Dègèl, Jaéwana, Gonjing Miring, and Sontoloyo. The most important, however, is the clown known as Carub Bawor, or simply Bawor, the Banyumas counterpart of Bagong and youngest son of Semar. He is somewhat smaller than Bagong and, like his brothers, wears his hair in a single pigtail at the top of his head. To Banyumas inhabitants, Bawor embodies both their best and worst characteristics as a people. He is ugly, fat, and squat, with a small, flat nose (irung pèsèk) and large staring eyes. His manner is crude and lecherous, and he speaks with a raspy voice in the Banyumas dialect. At the same time, he is extremely clever and can speak in the refined language of the courts when necessary. He can see through disguises and is never deceived, and he is known for his forthright and direct manner. Likewise, informants have mentioned that the people of Banyumas are physically different from other Javanese. They consider themselves shorter and more squat in stature with more pronounced facial features. In general, they are less attractive than other Javanese but, like Bawor, more direct and forthright in expressing their opinions. Soeparjo told me that Bawor was brought to the Banyumas region in the 1920s by a dhalang called Ki Cerma, also known as Ki Dhalang Menganti – named after the village of Menganti near Gombong (a town about sixty kilometers southeast of Purwokerto) where he lived before moving to Banymas. Dhalang Menganti was reputedly brought to the town of Banyumas (formerly the seat of the Banyumas Regency) where he became attached to the Regent of Banyumas, Patih Danurédja. His influence brought not only Bawor but other new elements to Banyumas wayang, including the three-pathet (mode) division of the performance, soft-style instruments and singing (including 12 The kundhi is somewhat smaller than the kris and has a broad blade with a curved edge. Its design, Rasito told me, arose from knives used by farmers to cut rice stalks during harvest. 13 Soeparjo speculates that instead of tattoos, the marks on his face could be chicken-pox scars.

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the pesindhèn, or female soloist), and music specifically for wayang (such as Srepegan, until recently called Mengantian or Jalak-jalak Pita). Previously, I was told, only loud-style instrument gamelan music accompanied wayang kulit. The dhalang of the past was dressed simply in a loin cloth as he performed, accompanied only by instruments such as the saron, bonang, and gongs. He was also the only vocal soloist, although sometimes assisted by his male musicians who sang with him as a kind of chorus. Partamihardja, an elderly musician with Sugino’s troupe, told me that Dhalang Menganti performed in a style heavily influenced by Yogyanese wayang kulit, and that this is still felt in present-day Banyumas style performances. Furthermore, until he came to the town of Banyumas, two styles of wayang kulit existed side by side in the Banyumas region: that of the southern coastal area (where he originated and his influence was greatest), known as Banyumas Pesisiran, and that of the area north of the Kendeng mountain range, known as Banyumas Lor Gunung.14 When he came north to the town of Banyumas, Dhalang Menganti reputedly unified these two styles to create the distinctive wayang kulit Banyumasan. The advent of Bawor, the changes in the puppets and music, and other elements in wayang, now considered distinctively Banyumas, are the result of the influence of Dhalang Menganti. Several dhalang I spoke with, such as Taram, Sugito, and Darmosoewito, did not agree over the stylistic contribution of Dhalang Menganti. Nor did they agree that wayang kulit in Banyumas is now made up of a single, unified style. Taram, who lives in Kroya (a town near the south coast region of the former Banyumas residency, an area now known as Cilacap), reportedly could trace a direct lineage to Dhalang Menganti through his grandfather, the locally renowned Ki Situmang, who was a student of Menganti. Taram argued that the two styles are still clearly distinguishable and that the southern coastal style is, in fact, more uniquely Banyumas (and, of course, embodied in his own manner of performance).15 Sugito, on the other hand, lives near Purwokerto and also felt that the two styles remain distinct to this day. But, he maintained that the northern style (gagrag Banyumas lor gunung) is the older style since it originated in the ancient kingdom of Demak while the southern coastal style (gagrag Banyumas pesisiran) arose from the more recent Mataram. Nevertheless, Sugito added that he had always advocated merging the two styles to establish a single and unique style of Banyumas wayang kulit.

14

See also Sena Wanga 1983:24; Sutton 1986b:121 and 1991:79. One of differences in southern coastal style, Taram pointed out, is in the voice characterization of some puppets. For example, Srenggini is a heavy stutterer in his version. 15

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Literacy, orality and textual creativity What is perhaps most interesting about wayang kulit is that it is predominantly oral in terms of performance yet has a strong literary component in its historical origins. That is, while puppeteers must be spectacular story tellers, learning to perform involves serious study of the literature behind wayang kulit or, at the very least, knowing about this literature (since it is not always clear whether all, or even most, dhalang have actually read textual versions, say, of the Mahabharata). In any case, most accomplished dhalang know (or know of) the literary heritage of wayang yet, at the same time, they rarely draw directly from that heritage when they perform. In his narration, Sugino tells the audience that the work of the dhalang is to interpret the literary sources of wayang kulit (see my transcription and translation, under item 2). He refers specifically to four texts: the Paramayuga, Pustakaraja, Purwakandha, and Mahabharata. Historian Laurie Sears (1996) has written extensively about the major literary sources of wayang kulit and notes that most of the textual sources used or referenced by dhalang are relatively recent retellings of stories from the Ramayana and Mahabharata. For example, the Pustakaraja (or Pustaka Raja) is a collection of approximately three hundred stories concerning Rama, the Pandhawa brothers, and Arjunasasrabahu, all recounted in prose form by the renowned nineteenth century Solonese court poet, Ranggawarsita (Sears 1996:182). The Paramayuga, also by Ranggawarsita, recounts the genealogical origins of the Hindu-Javanese gods as well as the kings of Java and, thus, its chronology precedes the Pustaka Raja. The Mahabharata mentioned by Sugino is probably the Mahabharata Kawedhar, a retelling published as an episodic series during the 1920s and 1930s (see further Sears 1996:186). Finally, the Purwakandha mentioned by Sugino is a nineteenth-century Yogyanese court inscription of the sixteenth-century Serat Kandha (see further Sears 1986:62-4 and Sears 1996:179). The Serat Kandha includes stories that blend Hindu, Javanese, and Islamic mythologies. Pigeaud (1967:142) mentions that these have more in common with Javanese shadow performances than the versions found in ancient texts. There are, of course, many other (and much older) texts but these are rarely mentioned, and perhaps not even known, by most dhalang. I agree with Sears (1996:180, see also Sears 1986:121) that the texts most widely referenced by dhalang are retellings likely based on earlier performances which were, in turn, perhaps based on even earlier texts copied and recopied over the centuries onto palm leaf by court scribes. The main impact of the nineteenth-century texts, then, was to provide a reference for standardization rather than to be represent some sort of originating literature. The early and ancient literature that does exist is rarely accessible to most dhalang. Thus,

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the boundaries between the oral and written versions are blurred since many of the texts referenced by puppeteers are likely records of earlier performances rather than definitive literary sources. The stories based directly upon the Mahabharata are known as lakon pakem, or ‘trunk stories.’ Such stories are less commonly performed than those diverging from the main theme of the Mahabharata, called lakon carangan, or ‘branch stories.’16 However, this division of lakon pakem (trunk stories) and lakon carangan (branch story) is not as straight forward as it might appear. More often than not, puppeteers and other experts disagree over what constitutes trunk or branch stories. In the introduction to the three volume study called Lakon Carangan (Feinstein et al. 1986), Alan Feinstein identifies several problems in trying to determine whether a wayang story can be designated trunk or branch. First, he mentions the ‘problem of definition’: puppeteers and wayang experts do not agree on the meaning of the terms, lakon pakem and lakon carangan. For example, some say that branch stories are autonomous creations that have no actual narrative connection to the Mahabharata, others say that branch stories develop particular moments within the Mahabharata. Still others argue that trunk stories are taken from literary sources, like the Pustakaraja, while branch stories are new creations by puppeteers. Second, Feinstein discusses ‘the problem of “authentic” sources’: many puppeteers simply present a story the way it was passed down to them through oral tradition and are not necessarily concerned or aware of its literary origins. That is, except in the most general sense, literary narratives of the Mahabharata are rarely a authoritative reference source for most puppeteers. Third, Feinstein mentions ‘the problem of creativity’: puppeteers have considerable creative license in performance, what is known as sanggit, and will put their own particular stamp on a story. Finally, Feinstein discusses ‘the problem of contextual influence’: narrative elements may change or new stories may be created according to situational needs. Puppeteers may change parts of a story to make it relevant to the celebratory event in which the performance takes place. In some cases, the sponsor of a performance may ask for a particular story that is unknown to the puppeteer who then may create a entirely new story on the fly. Most of my friends in Banyumas believe that lakon pakem are simply the old stories handed down from one generation of puppeteers to the next while lakon carangan are simply newer creations. They also point out that trunk stories are episodic, chapters within the larger epic of the Mahabharata. Sears 16

Note that the term pakem also refers to brief plot outlines in handwritten or printed texts (used by dhalang to archive and memorize stories), also known as balunganing lampahan. Other terms are also used to refer to ‘trunk’ stories, such as lakon pokok (Indonesian pokok, or ‘main’) and lakon jejer (Javanese jejer, ‘standing’).

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(1996:196) argues that trunk stories are ‘those stories which lead up to and recount the events of the Bratayuda War’ (the war that culminates the epic Mahabharata). Indeed, trunk stories are old and revered; some are considered particularly ‘heavy’ (berat) because they are about war and the death of major characters. For this reason, I was told, they are not performed as often as branch stories. Some of my friends told me that performing trunk stories, particularly those that recount the Bratayuda, can even be dangerous if the puppeteer is not highly knowledgeable and experienced. Branch stories, on the other hand, are autonomous creations by puppeteers and tend to be lighter in nature – therefore, more entertaining to audiences. Because of this, most dhalang prefer to perform branch stories over trunk stories. Nevertheless, the Mahabharata and, to a lesser extent, other classical sagas (such as the Ramayana) provide the narrative material for many branch stories (lakon carangan) in wayang performance. Broadly speaking, then, wayang performances might to be best understood as the dhalang’s interpretative rendition of the broader literary tradition of the Mahabharata (and, to a lesser extent, the Ramayana). The dhalang’s main intent is creating a feeling of spontaneity within the predictable components of an elaborately structured performance process, making the story come alive through this spontaneity. The dhalang’s interpretive skills are especially observable in dialogue where characters are fleshed out through his voice. Indeed, the realism of wayang depends less on visual elements (puppets and their movements are extremely stylized in appearance) and characterization (characters are fixed as types) than on the crafting of words in speech and the skills of extemporaneous locution (narration) and interlocution (dialogue). Perhaps it is important here to understand wayang kulit less as theater – at least as we know it in Europe and North America, with all the staging technology (sets, props, lighting, etc.) and visual characterization (facial expressions, gestures, posture, etc.) that the word implies – than as a complex language art. For the sake of discussion, we might map narrative performance along a continuum with pure story-telling at one end and highly visual oriented film and television at the other (see Figure 1, below). Staged drama, like modern Western theater, might be located somewhere in the middle of this continuum. Story-telling, we might say, is an almost purely oral based narrative form (i.e., using only speech) while film and television is enhanced by visually based technologies and techniques.17 Indeed, some documentary films (such as those shone in I-Max movie theaters) have little or no oral components – they are pure visual narratives. Staged drama, on the other hand,

17

This is not to say that the oral component is not important. Indeed, some television programs, such as daytime soap operas, can be enjoyed without watching the TV screen.

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involves sets and props but, while speech (that is dialogue and narration) is still crucial, bodily characterization – i.e., physical acting – is an extremely important aspect of performance. Film and television documentaries

Western staged theater

Visually based

Story-telling Orally based

In wayang kulit, the shadow puppets, the screen, and so forth, are all really visual aids in the larger task at hand: namely, the art of story-telling. On the continuum depicted above, wayang might be plotted much closer to orally based performance than Western staged theater. Certainly, the most highly regarded dhalang have numerous artistic skills. They are recognized and respected for their mastery over the poetics of Javanese language, for their broad knowledge of wayang genealogies and myths, for their singing abilities and musical talent, for their skills in manipulating puppets with articulated arms and legs, and for their understanding of related esoteric rituals. Yet, more than anything else, it is the ability to make the characters come alive through dialogue that is especially valued by audience members. One might say that every Javanese audience member is a critic – someone that goes to a wayang performance to enjoy the way the story is rendered rather than simply to discover a new story or character or to learn something new about a known character. And a dhalang is more closely scrutinized for his verbal skills than his musical talent or ability to manipulate puppets. At the same time, however, this is not to say that other skills are unimportant. They are, but my point is to emphasize that wayang is, above all else, a verbal art form. It is the dhalang’s ability to move listeners with his words, to draw them into his story, and to heighten their experience of the overall event, that determines his success as an artist. Above all else, the dhalang is a verbal performer. Richard Bauman (1977:11) describes verbal performance as follows: Fundamentally, performance as a mode of spoken verbal communication consists in the assumption of responsibility to an audience for a display of communicative competence. This competence rests on the knowledge and ability to speak in socially appropriate ways. Performance involves on the part of the performer an assumption of accountability to an audience beyond its referential content. From the point of view of the audience, the act of expression on the part of the performer is thus marked as subject to evaluation of the performer’s display of competence. Additionally, it is marked as available for the enhancement of experience, through the present enjoyment of the intrinsic qualities of the act of expression itself.

32

Srikandhi dances Lènggèr Performance thus calls forth special attention to and heightened awareness of the act of expression and gives license to the audience to regard the act of expression and the performer with special intensity.

Thus, the dhalang is not necessarily judged in terms of the content of his story – indeed, story content seems to play a relatively minor role here – but in terms of his expressive competence as verbal performer. The supposed recent emphasis on entertainment – as opposed to spiritual and social pedagogy or ritual spectacle – constitutes, some have said, a move away from the more conservative style of wayang purwa (a more refined term for wayang kulit) as practiced in the court centers of Yogya (Yogyakarta) and Solo (Surakarta). Although ritual wayang performances (such as for ruwatan, or purification ceremonies) continue to be held in many villages even today, these are rarely well attended since the performing dhalang are often older and more conservative, their musicians less skillful, and they are far less entertaining – particularly to modern Indonesia’s young Javanese exposed to mass media since early childhood. Traditionalists have complained that the spiritual and moral teachings of wayang are undermined as dhalang try to appeal to the vulgar and more sensational tastes of villagers. However, I agree with historian Laurie Sears (1996) that wayang has always been deeply rooted in village life, and that it has been first and foremost a form of entertainment.18 In the late nineteenth and early twentieth centuries, Indonesian intellectuals and Dutch colonial scholars were inspired by modernist European trends to mystify wayang, emphasizing its artistic and religious elements, and holding it up as an icon for an essential/ized Javanese culture, using court and conservatory-based models of wayang purwa as the ideal. With the rise of nationalism, and following Indonesian independence in 1945, the Javaneseness of wayang took on even greater significance to intellectuals and political leaders (most of whom were themselves Javanese). Indeed, many saw (and still see) wayang as a rich source of wisdom of what it means to be Javanese. In any case, the entire debate is perhaps moot. After all, what is important here is that wayang continues to inspire its audiences to reflect on spiritual and philosophical matters, being Javanese, and the world around them, even while they are being entertained and amused. Jan Mrazek (1999:68) summarizes the debate elegantly, pointing out that the changes within wayang reflect the manner in which performers negotiate its survival:

18

For example, Sears (1996:119) writes: ‘I am arguing that shadow theatre was always a vital village tradition that was refined in the 1920s and 1930s in response to criticisms of the tradition by Javanese nationalists and Dutch scholar-administrators and then posited as the essence of a lost high culture.’

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It changes as it clings to its past and faces the future (this may be what Stanley O’Connor means by ‘the quest for the present’),19 it looks and faces now in one direction, now in another, and its face constantly changes expression in response to its changing inner state and in response to what it is facing and with what it is being faced, at the same time that it tries to keep up appearances (‘in this world in which appearance becomes reality and we must be what we seem’).20 In short, it is alive, it vibrates with life, it has both life’s inconstancy and its persistence. This ‘quest for the present,’ this willingness to put itself at risk and constantly revise itself and its relation to the world – which often means sacrificing some of its principles – is not only an endeavor to survive. Wayang’s ‘quest for the present,’ with the many tensions and conflict that some interpret as signs of its vitality where others see signs of dissolution, is also one of the sources of the energy to be found in wayang performances, which enables wayang to attract thousands of spectators and mesmerize them or leave them perplexed, to make them reflect or unite them in laughter.

In other words, Mrazek argues that wayang is by its nature an adaptive and vibrant tradition. For better or worse, it must change and adapt to the changing circumstances of Indonesia, of the people of Java. If it did not, it would become an anachronism, a museum tradition that has no relevance in contemporary Javanese society.

19

Mrazek is quoting from Stanley J. O’Connor, ‘Memory and discovery in Southeast Asian art’, in Asian Art and Culture 8/1 (Winter 1995):5. 20 The quote in parenthesis is from Salman Rushdie, The Moor’s last sigh (New York: Pantheon Books, 1995):206.

chapter iii

The temporal organization of wayang kulit Introduction No dhalang is more aware of the place of wayang in contemporary society then Sugino. He constantly explores ways to make his performances relevant to Indonesia’s younger generation. Obviously, his motives are driven by financial gain – he is, after all, an extremely successful performer. Sugino is known for his skills in making the characters become real through dialogue, although he was said to be rather mediocre in his manipulation of the puppets. Even his loyal fans and his own musicians acknowledge that he lacks the extensive knowledge of wayang esoterica valued by most highly respected dhalang and wayang experts. Despite this, he is extremely popular because his stories are compelling and realistic not through movement but with the use of language. The drama is in the narration and dialogue, not in visual effects. However, while he is notorious for his transgressions against convention, Sugino, like all Javanese puppeteers, performs within highly constrained parameters. This chapter will explain some of the main narrative and musical principles of wayang performance. Narrative structures An evening of wayang kulit is traditionally divided into three main sections, identified according to pathet, or mode: pathet nem, pathet sanga, and pathet manyura. We might view these divisions as ‘acts’, but each division of the performance is characterized by its musical content as much as it is by its dramatic content. Furthermore, since the closures between divisions are not necessarily clearly marked, one might not be able to differentiate one division from the other without knowing its specific dramatic and musical characteristics. Nor are these divisions as simple and rigid as most of the literature implies. Both Javanese and Western sources suggest that the performance

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lasts nine hours and each pathet is accorded three hours:1 1. pathet nem 2. pathet sanga 3. pathet manyura

: : :

9:00 PM to 12:00 Midnight 12:00 Midnight to 3:00 AM 3:00 AM to 6:00 AM

A performance of wayang kulit, however, is a larger event than the actual story-telling itself. Solonese wayang kulit consists of several sections in addition to the basic divisions of pathet: 1 2 3 4 5 6 7

Klenèngan [concert] Talu [overture] Pathet nem Pathet sanga Pathet manyura Closing (of the story) Golèk puppet dance

The dance of a golèk puppet (no. 7) to end the evening is, however, rarely performed these days.2 In Banyumas, the performance evening begins as early as 7:30 PM with klenèngan (concert gamelan playing). The klenèngan itself has a loose structure, almost always beginning with a Solonese gendhing bonang (a large composition characterized by the absence of singing and soft-style instruments, and featuring the instrument bonang) and continuing with at least one large virtuosic piece associated with the court centers (Surakarta and Yogyakarta).3 The gendhing bonang also serves to announce the beginning of the klenèngan, drawing people toward the stage. In a more general sense, klenèngan also serves a similar purpose: the music lets everyone within earshot know that an event is happening here. Since most performances are amplified, the music can be heard several miles away. The overall sound can be almost as loud as a rock concert, yet I have never heard of neighbors complaining about the noise. More than once, Rasito and I have gone in search of a performance of wayang (by lesser known dhalang), knowing only the general area where 1

See, to name only a few examples, Nojowirongko 1960:14; Mudjanattistomo et alia 1977:161 and Schumacher 1980:17-21. 2 A golèk puppet is a three-dimensional puppet also manipulated with sticks. See further see Nojowirongko 1961:58 and Van Ness and Prawirohardjo 1980:55. 3 Generally, no Banyumas pieces are performed during the klenéngan. I’m not sure why this so, perhaps it is an opportunity for musicians to show their skills at playing Solonese (or sometimes Yogyanese or even Semarang) style concert music. One of Sugino’s musicians (Suyoto, affectionately called Pak Yoto, the rebab player) jokingly remarked that it would be more work to play Banyumas style music since the pieces are shorter and faster, and the musicians would have to play more of them to fill the time.

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it was to be held, and finally finding the event only after hearing the amplified music in the distance. In the past, before amplification was widely used in wayang performance, and before better breeds of rice were introduced to Indonesian villages, women pounded rice together in a musical fashion to make tepung, a kind of rice flour. Known as kothèkan lesung, it involved four or five women stamping rice in a large wooden trough with long poles to create complex interlocking rhythmical patterns. This musical tradition arose out of a kind of work that has been always in the domain of women. Formerly, kothèkan lesung could be heard around harvest time and, when played in the early evening, it often signaled various kinds of celebratory performances, such as wayang.4 About 8:45 PM, following the klenèngan and after a brief rest, Sugino’s group performs their banner opening piece (it has no title) in pélog tuning. The piece starts with a gangsaran (a monotone form on pitch 2 with eight beats per gong cycle) to get the audience’s attention. The gangsaran then goes into the piece proper in laras pélog pathet nem. After the opening piece is ended, the musicians rest briefly and then begin the talu (overture), a medley of compositions of increasingly smaller structures. The talu alone lasts anywhere from about thirty to forty-five minutes and therefore constitutes a major portion of the wayang evening. Shortly before 9:30 PM, near the end of the talu, the dhalang steps up on to his podium. This signals the group to go into the final piece of the overture, sampak guntur. At the close of this composition, there is a very brief pause for one or two minutes before the dhalang gives the signal to begin in the first act of the story in pathet nem. It is the longest act of the performance and perhaps the richest musically, lasting about four hours. Sometime between 1:00 AM and 2:00 AM, the performance will enter another important section of the evening, the gara-gara (cosmos in turmoil and comic interlude). In Solonese style wayang kulit this section is incorporated into the story as a scene. In Yogyanese and Banyumas wayang kulit, on the other hand, garagara is obligatory, but considered a distinct interlude of about one hour that interrupts the story with comic relief (for it is the time when the clowns come out for song and dance). Following the gara-gara, sometime between 2:00 AM to 3:00, the story is resumed in pathet sanga, the second act of the performance. Sugino usually announces the end of the gara-gara through the clown Semar who tells his 4

Nowadays, some women (usually older village women) still play kothèkan lesung, although rice pounding is no longer necessary with the introduction of better types of rice. They play, without being paid, solely to entertain themselves or other women. Although not discouraged from participating, men generally express very little interest in either learning or even listening to this music.

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sons (the other three clowns) that they must remember their master (usually Janaka, also known as Arjuna). The second act then begins with another major audience scene, usually at a place of meditation or in another kingdom. In the translated story it is in the estate of Madukara, where their master, Janaka, lies in a deathlike sleep as a result of a divine curse. This section, or act (that is, pathet sanga), usually lasts until about 4:00 AM. The final act, pathet manyura, is the shortest of the three major divisions and musically the least interesting. Dramatically, however, it is the fastest paced of the three divisions, since it contains the denouement of the story and everything must be brought to a close by dawn. It lasts only about one hour but is filled with intense battles and surprising twists to the plot. The act concludes with a final happy audience scene that is closed by piece signaling the end of the performance. Thus, an evening of wayang kulit lasts literally from dusk to dawn. The actual story-telling, I was told, should not begin later than 9:30, although speeches by the host or local dignitaries may sometimes cause a short delay. If a speech goes on too long, the village spectators may become restless and grow rather noisy (or, more accurately, noisier). Within the major divisions of pathet, the wayang kulit story (lakon) can be further divided into three main kinds of scenes: jejer (audience scenes), adegan (scenes outside the audience hall), and perang (battle scenes). These three scene types (along with the main divisions of pathet) might also be viewed, in most cases, as the minimal hierarchical ordering of plot organization: adegan usually follow jejer and perang usually follow adegan.5 Although several adegan may occur before a perang and several perang may occur after an adegan, jejer are not ever performed consecutively without intervening adegan and perang. Another characteristic of these three scene types is the associated use of narration, dialogue, and action (puppet movement). Jejer involves both narration and dialogue, but little action; adegan involves some narration and action but is mostly based upon dialogue; and perang consists mainly of action with little narration or dialogue. In Solonese style wayang kulit, there is only one jejer, occurring at the very beginning of the story – the opening audience scene and identified simply as jejer.6 Subsequent scenes are either adegan or perang, named according to place (adegan sabrangan, ‘foreign kingdom scene’), situation (adegan banyolan, ‘comic scene’), or placement in the plot (adegan manyura, ‘scene in pathet manyura’). Yogyakarta style wayang kulit, on the other hand, has seven 5

For a more detailed analysis of wayang structure, see A.L. Becker (1979). Often it is modified by the named of the kingdom in which it takes place: for example, a story opening in the kingdom of Ngastina begins with Jejer Ngastina (major audience scene in the kingdom of Ngastina). 6

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consecutively numbered jejer and each is based upon an audience scene with subsumed adegan and/or battles.7 These jejer may also be named according to location (jejer sabarangan, ‘foreign major audience scene’), pathet (jejer pathet sanga kaping kalih, ‘second major audience scene in pathet sanga’), and characters involved (jejer pandhita, ‘hermit audience scene’). The subsumed adegan and perang may, like their Solonese counterparts, be named according to place, situation, or other criteria. Techniques in story-telling Within each scene, the dhalang conveys his story in three main ways: 1. narration, 2. dialogue, and 3. action. The first, narration, is an oral description of place, person, situation, or action in the third person voice. The second, dialogue, is generally any form of discourse by a character of the story in first person voice. The third, action, involves any kind of puppet movement that advances the plot, the most common in wayang being journeys and battles.8 Narration. Two types of narration are heard in wayang: description of place and description of prior action. Usually, the former is accompanied by a gamelan composition in sirep (muted playing). In both cases, but especially in the description of places, a large portion of the dhalang’s narration is made up of fixed texts: that is, words, phrases, even entire passages memorized by the dhalang and rendered almost exactly the same from performance to performance. Javanese sources on the art of shadow puppetry devote a considerable number of pages to such fixed passages.9 The dhalang then inserts the name of the kingdom, names of kings and ministers, and so forth, to make the passage appropriate to that particular story being told. The most obvious examples of such fixed texts in Sugino’s performance may be seen in his opening narrative (items 1-13) and his narrative for the gara-gara (cosmic turmoil) section (items 541-550).10 Others passages are made up of fixed

7

See, for example, Mudjanattistomo et al. 1977. Hand and arm movements are also very common during dialogue in wayang, either to assist the audience in identifying which character is speaking or to add a bit of realism. The puppets are stationary (planted in the banana tree trunk) and the dhalang will slightly move the arm of the one speaking. However, books on the art of wayang kulit stress voice characterization and make no mention of this kind of movement. 9 See, for example, Nojowirongko 1961 [Volume IV]:5-25; Mudjanattistomo et alia 1977:74-95; Sena Wangi 1983:107-32. 10 There are some deviations in the content of these passages among different performances by Sugino. A word or even an entire sentence might be omitted, or two phrases might be rendered in reverse order, and so forth. However, I believe that in most cases these are unintentional and unconscious variations. 8

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words and phrases, such as ‘lahing kana ta wau...’, ‘kocap kacarita...’, or ‘sinigeg kang murwèng kandha...’ as narrative markers (similar to such markers in the English language as ‘once upon a time...,’ ‘and so...,’ or ‘now...’).11 Dialogue. Another aspect of story-telling in wayang is dialogue. This is a particularly important but difficult skill in the art of shadow puppetry since it involves the illusion of spontaneous conversation between characters of different social ranking, using the various speech levels of formality in the Javanese language. Javanese sources on the art of shadow puppetry contain complex instructions in proper speech etiquette, use of kin terms, and intonation for the various characters, depending on character types, situation, and combinations of social ranking.12 Furthermore, the puppeteer must know the genealogy and social ranking of all his puppets in order to be able to apply the appropriate speech etiquette in his dialogues while producing an illusion of spontaneous speech.13 Sugino is known for his skill in his dialogues, sometimes astounding his audiences with heated exchanges in the dialogue in which one character interrupts another (see, for example, items 915-916). In dialogues, characters are differentiated more through the dhalang’s verbal skills than through puppet gestures.14 Each character or character type has a particular intonation. For example, King Suyudana’s voice is described in the literature as pitched between tones 1 and 2 of the sléndro tuning system, sometimes growling somewhat. His voice changes slightly in different circumstances, also described in detail.15 Additionally, some characters have distinctive words or phrases to identify them. For example, Durna’s expression, ‘bujug, lolé-lolé blegedhug manyarmanyar emprit gantil buntuté kisa’, is his alone. It has little lexical meaning but helps to characterize him. Some phrases have a more general purpose and are simply used to distinguish character types, such as ogres. In a performance of the translated story, we may hear the following phrase uttered by the ogre named Tenung Turanggamaya (see item 89): ‘Bojlèng-bojlèng, partaka gelap belis lanat lakuné jlèg-jlègan!’ The drum is sometimes struck twice on the first two syllables of jlèg-jlègan to emphasize his incomprehensible but threatening

11

Examples of these phrases can be found throughout the transcription of the original Javanese text. 12 Certain characters are excluded from some of these general rules. Wrekudara, for example, uses informal Javanese in speaking to all other characters – no matter what their social ranking may be – except for the god Déwa Ruci. 13 Most Javanese instructional books on the art of shadow puppetry contain extensive genealogies of all the major characters. These genealogies also show the various political and familial affiliations of these characters. 14 The dhalang generally moves the arm a speaking puppet, or sometimes may bring its hands together and up to the head as a gesture of obeisance (sembah). 15 See, for example, Sena Wangi 1983:41-4.

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words. More general yet is the explicative ‘élah dalah’, or its longer, more complete form ‘wélah dalah, jagad ya bathara ya jagad pramudhita’. This is uttered like an oath by quick-tempered warrior characters such as Baladéwa (see, for example, item 151). Sugino often uses the shortened ‘élah dalah’ for his crude ogre characters as well. Action. The story is of course also moved forward through action depicted on the screen, most commonly battles and journeys. As I said before, individual characters are distinguished more through dialogue than through by puppet gestures, but puppet manipulation (known as sabetan) is an important aspect of wayang kulit and many books on the art of shadow puppetry devote considerable attention to this skill. Although terms differ among dhalang and the various written sources, characters with their corresponding puppet manipulation are identified according to several categories, from females and refined males to assertive warriors and crude ogres.16 Puppets are typed according to whether they represent gods, humans, monkeys,17 ogres, animals, or objects. Except for animals and objects, these groupings can be further typed according to genealogy and social ranking – for example, kings, ministers, priests, women, noblemen, soldiers, clowns, and so forth. Additional puppets and props might be found in performances but are not included in this rank ordering: animal puppets (horses, tigers, elephants, etc.), army puppets (that is, puppets representing a mass of soldiers), babies, and puppets representing weapons and other props. Character types are reflected in the design of the puppets, the most refined having thin delicate bodies with narrow eyes and long noses while the most crude (the ogres) having gross physiques with grotesquely bulbous eyes and snout-like noses, often bearing large fangs as well.18 Other, more specific, features further define a character type, such as whether the gums are showing, the angle of the head, age, and general dress.19 In performance, the extent of body movement (or lack of it) in battle reflects the degree of a character’s refinement or, conversely, crudeness.

16

For a detailed English-language study of characterization and puppet manipulation in Yogyanese style wayang kulit (following the Habirandha school of shadow puppetry in Yogyakarta), see Long 1982. 17 Although monkeys are mainly found in the epic story, Ramayana, and Central Javanese shadow puppet theater most commonly revolves around characters of the Mahabharata, monkeys (especially the character known as Hanuman), sometimes make an appearance in wayang kulit. Some, like Hanuman, are real characters with individual personalities and these of course can speak. 18 For a more detailed discussion, in English, of wayang puppet construction and design, see Brandon 1970:38-51. 19 See Nojowirongko 1960 (Volume I:58-60).

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Generally, the more radical and violent the movements, the cruder the character. One can appreciate the amazing skill and dexterity involved when seeing opposite character types battle, such as an ultra-refined character, like Arjuna, fighting an ogre. With a puppet in each hand (using his fingers to move the arms), the dhalang simultaneously manipulates the gross and restless actions of the ogre and the fluidly calm movements of Arjuna. The more attention a dhalang pays toward such detail, the more his puppets come to life – and the greater the thrill for his audience. Both Sugino and Sugito, as well as other Banyumas dhalang, use additional movements not included in the standard literature on wayang. Characters may punch one another like boxers or one may bash the other’s head against the gunungan (the tree of life figure). A puppet may dance with glee, to the accompaniment of the gamelan, when he gets the better of his opponent – as the ogre Turanggamaya does in the translated story when he remains unharmed by Baladéwa’s magical spear or as Wrekudara does near the end of the performance after he tears an ogre limb from limb. Such movements often represent a particular dhalang’s hallmark and may contribute to his reputation. Whenever Sugino made his ogre puppet dance in the midst of battle, with gamelan accompaniment and syncopated calls by the pesindhèn, it delighted his audience. Sugito is particular renowned for his dexterity in manipulating puppets, flipping the ogres head over heels or spinning them like tops to amuse his audience. The tree of life The most abstract of all the wayang kulit puppets is the kayon, ‘the tree of life’, or gunungan, ‘the mystical mountain.’ It has an overall shape that approximates an ovate leaf (like the leaf of the coleus plant) but with the sides of the lower third angled in slightly. The shape is said to represent the mountain, a sacred place and considered an abode of the gods. The detailed carving and painting on one side depicts several figures. At the bottom is a large gate guarded by two bludgeon-wielding ogres. Above the gate, dominating the rest of this side of the gunungan is a stylized tree filled with various animals. A grimacing face (with fangs and sometimes with its tongue extended downward), much like those seen over the gates of temples in Bali, glares out from the middle of the tree. An additional smaller face, sometimes depicted as a kind of Cyclops, might be seen located above the first face, closer to the top of the tree. Various animals, such as a charging oxen, a pouncing tiger, deer, monkeys, birds, and fish can be seen within the branches of the tree. Some kayon include depictions of the garuda, a Hindu-Javanese mythological bird, as well. The reverse side of the kayon is either simply painted shades of red (to

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look like a flame) or sometimes dominated by a grimacing face, a much larger version of the one found on the other side, glaring out among broad flames of fire in red, orange, and yellow. The detailed carving of this puppet, highlighted by the meticulous painting on the other side, is on this side obscured by the simple, almost crudely drawn, face and the painted fire. The curious lack of detail, fiery colors, and huge demonic face of this side are a startling contrast to the delicate carefully worked reverse side. Furthermore, the crudely painted side is invisible to the audience watching the shadow of the kayon as it is held up to the screen. They see only the detailed carving of the gate, the ogres, and tree with all of its animal life. The kayon has many functions in wayang kulit and it is dense with symbolism. It can be used by the dhalang to represent natural phenomena, such as wind and fire, as well as more concrete things, such as the ocean, a cloud, a mountain, a forest, and so forth. It can also represent abstract ideas such as magical occurrences and other supernatural phenomena. In our story, the ogre, Turanggamaya, blows his magical breath on Gathotkaca and it carries the young warrior aloft and traps him within a storm cloud. The dhalang waves the kayon over Gathotkaca and moves him upwards, together with the fluttering kayon, to the right and off-screen – to show how he is swept away into the sky. In a different scene, another ogre (Turanggadhèsthi), casts a spell of sleep on the clowns and their masters to abduct the warrior hero Arjuna (Janaka). The dhalang, at this point, holds the quivering kayon over these characters to represent the power of the ogre’s spell as it reaches them. At the same time, he replants the characters into the banana tree trunk at an extreme angle to indicate that they are lying unconscious. The kayon also frames wayang kulit, both in the literal as well as the figurative sense. When not in use the kayon is placed on one side of that portion of the screen that acts as the stage (except during the gara-gara section it is to the dhalang’s right). Most dhalang, like Sugino, use two kayon, each one placed on one side of the performance area of the screen as a frame (see also Brandon 1970:40). Some dhalang, like Sugito, even use three kayon, with two on the right and one on the left side of the ‘stage’. To frame the performance in a more figurative sense, the kayon indicates large structural divisions (the major sections discussed earlier, musically represented through pathet) and may be used to mark divisions between scenes. Before the story begins the kayon is placed vertically in the center of the stage area of the screen; the side with the detailed painting faces outward toward the puppeteer. When two kayon are used, both are placed vertically in the center (detailed side facing the dhalang) with one on the upper and another on the lower banana trunk so that the two overlap one another slightly. When three are used, one is placed on the left, one on the right, and the third in the center (all three with the detailed side out toward the dhalang). At the very

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beginning of the performance, Sugino always takes one of his two kayon and holds it close, almost as if he were cradling it, while whispering mantra (incantations). After this, he holds it up above his head and touches first the top and then the bottom of the screen three times before planting it off to the side. At the end of the performance, the two kayon are returned to the center of the screen covering the characters of the final scene. To mark off the closure of a scene, the dhalang may plant the kayon (or one of the kayon, if he is using two or three) in the center of the stage area after removing the puppets. The direction of its inclination also indicates the major division, or act, of the performance: in the first act, it is centrally planted in the lower log inclining slightly to the puppeteer’s right (to the ‘east’); during the second act, it is planted in the lower log pointing straight up (as if at the sun at ‘noon’);20 and during the final act, in the lower log inclining slightly to the dhalang’s left (to the ‘west’). At the end of the performance the kayon is returned straight up to its place in the upper banana tree log. The kayon, then, marks the passage of performance time (as opposed to narrative time) and signifies the progression of a metaphorical ‘day’ even while the performance advances through an actual night.21 When it is once again planted in the upper log, at the center of the screen, it signifies the end of the performance. To indicate a change of pathet (that is, change from one major division to another), the kayon is placed in the center of the stage area while the dhalang chants a pathetan (discussed below). Thus, to indicate a change to pathet sanga, the kayon is placed vertically in the center of the screen while the dhalang chants pathetan sléndro sanga; to indicate a change from pathet sanga to pathet manyura, the kayon is placed in the center leaning somewhat toward the dhalang’s left while the dhalang chants pathetan sléndro manyura. For the gara-gara (cosmos in turmoil) section, the dhalang waves the kayon to the left and right repeatedly, trembling and fluttering, and finally place it on the dhalang’s left side of the stage area of the screen. Sugino does this with both kayon before placing them on each side of the screen with the reverse facing out. Sugito, with his three kayon, uses only one and then places it reversed to his left. Musical structures The function of gamelan music in wayang kulit performance ranges from evoking mood to accompanying the dhalang’s narration and the movements 20

Sugino keeps both kayon reversed (that is, the flame side facing him) until the end of the first scene after gara-gara. 21 This has also been noted by A.L. Becker (1979:226).

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of the puppets to providing concert interludes for the audience. It is clear, then, that the gamelan presents far more than simple incidental music for wayang kulit. It plays a fundamental and inseparable role in the dramatic presentation. As James Brandon (1977:51) points out: Gamelan music is essential to the performance of [wayang] kulit. It provides the cadence to which puppets move across the screen, take their places in the bananalog stage, and fight. It establishes or alters mood. It provides respite between major actions. Except for brief moments, some instruments play continuously throughout the eight or nine hours of a performance.

The basic parts of a performed piece consist of 1. buka, the introduction, 2. the piece itself, and 3. suwuk (the ending). The buka is performed by either a solo voice or an instrument, usually the rebab, gendèr, bonang, drum (kendhang), or occasionally the saron. The ‘piece’ may actually consist of several sections, even distinct but connected pieces. An obvious example of a series of pieces strung together is the talu, or overture, to the wayang performance (see my discussion of talu, below). A piece may also have another distinct piece set within it. This performance technique, known as selingan, is used in the comic interlude during the Sampak Gara-gara (following Ayak-ayakan and Srepegan laras sléndro pathet sanga, see under item 544). The sampak pauses briefly and a vocal introduction (buka celuk) opens a short piece after which the sampak resumes without a break. Two main types of gamelan music are found in wayang kulit: unmetered and metered. Metered music is cyclical in structure and played by full gamelan ensemble.22 The unmetered music is linear in structure and played by a small ensemble (that is, only some instruments of the gamelan perform). What I mean by ‘linear’ is that the formal organization of the piece is based upon distinct and usually non-recurring lines or phrases – similar to the Western through-composed form. The ‘cyclical’ form is based upon layers of recurring phrases that intersect at various points, the gong stroke marking the largest phrase and most important point of intersection. We might, with caution, liken the main, or fixed, melody (balungan) of such structures to the Western ostinato. However, gamelan music is made up of many pieces with characteristics of both linear and cyclical formal organization. The tendency is that, the more pronounced the vocal (and textual) element in the music, the more the piece is oriented toward linear organization.

22

In some instances, however, such as in loud-style playing, ‘full’ ensemble might be without the soft-style instruments. It does not necessarily mean the soft-style instruments are not allowed to play, only they wouldn’t be heard or that the main melody moves too fast for them to elaborate upon it.

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Metered Music. The texture of metered gamelan music has been described by Mantle Hood (1967:15), perhaps the first American scholar of the Javanese gamelan, in terms the orchestral principle of stratification: The term may be defined as a principle governing three or more melodic and/or rhythmic lines, vocal or instrumental, that form relatively distinct layers or strata of sound. Each stratum is distinguished by its density – that is, the number of musical events occurring within an arbitrarily determined time span – by certain melodic and/or rhythmic idioms, or by a combination of these. Together these strata produce a melodic-rhythmic-harmonic resultant that is greater than the sum of its parts, since, in one sense, it too may be regarded as a stratum.

The metered music in wayang kulit is made up of two main kinds of compositions: those with regular gong structures and those with gong structures of varying lengths. Like many compositions in Western classical music, a metered gamelan piece is identified according to its formal characteristics.23 We could, with a bit of practice, predict the stroke of gong in any of the pieces based upon regular gong structures by simply counting beats of the main melody (balungan). Such pieces can be considered truly cyclical in organization and identified according to structure by terms such as gendhing kethuk kalih kerep, ladrang, ketawang, lancaran, etc. We would not necessarily be able to predict the gong stroke in pieces based on irregular gong structures, however, unless we knew the piece itself – since the structure may vary from one cycle to the next. These pieces are known as gendhing lampahan (or lampah), the term referring not to formal characteristics but rather to their dramatic function. In wayang, they are used to accompany puppet action (lampahan) such as journeys, dance, and battles, or occasionally the dhalang’s narration when he describes past, present, or future action.24 The pieces may be grouped into two main categories: those of fixed gong cycles and those of flexible gong cycles. The pieces based upon gong cycles of fixed (but irregular) duration are based upon a recurring pattern of kenong and kempul. We might think of this as a pattern of kempul (P) strokes subdivided by strokes on the kenong (N). The pattern is repeated until it is closed by the occurrence of a gong stroke (G) instead of kempul: P P G N N N N N N (etc.) The relation of strokes of the kenong and kempul/gong to beats of the balungan tell the knowledgeable listener the structure of the piece – whether it

23

For Western classical music, one need only think of Sonata Allegro, Suite, or Rondo forms, for example. 24 When the music accompanies narration, the gamelan plays quietly (sirep).

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is an ayak-ayakan, srepegan, sampak, etc.25 Some audience members of wayang kulit might also know these pieces by their dramatic function: ayak-ayakan accompany calm movement (lampah sarèh) and both srepegan (called playon in Yogyakarta) and sampak (sampak gara-gara in Yogyakarta) accompany excited or angry movement (lampah sereng) as well as battles (perang). The musical-structural characteristics of pieces like these are carefully described in Vetter (1977) and I need not repeat his findings here. I should simply note that, although gong strokes are fixed in such pieces, they may not necessarily occur with regularity.26 That is, one gong phrase may be eight beats of the balungan in duration while the next is twelve. These pieces, then, might be viewed as intermediary, having cyclical patterning within a larger, somewhat linear organization. Pieces of flexible gong cycles are based upon the same principle as those of fixed gong cycles, but the idea is taken a step further. The duration of each gong cycle is not only irregular but also determined at the time of performance. The music of this category, known as palaran (or rambangan in Yogyakarta), is made up of a vocal line ‘floating’ over a metered drone (repeated pitches) by the punctuating, or colotomic, instruments kenong and kempul (as well as kethuk). A palaran is characteristically inserted within a srepegan or sampak (see above) and easily recognizable by the absence of the main melody (balungan) instruments. Gong strokes are cued by the drummer who in turn must know the poetic structure and musical phrasing of the vocal line. The text for these pieces is identified according to poetic meter (macapat) with names like pangkur, sinom, durma, etc. In these pieces, the linear organization is even more pronounced. In the last category, those pieces based upon irregular but fixed gong cycles, a piece can be repeated over and over, forming a larger recurring cycle (though its internal gong structure is irregular). In this category, however, each rendering is entirely unique; for example, the singer may add melodic embellishment to a syllable and extend the line, therefore extending the gong phrase. Unmetered Music. The unmetered music of the Javanese gamelan tradition has not drawn a great deal of attention in America, perhaps because it does not fit elegantly into our – sometimes rather exotic – notions of what gamelan music should be: organized according to principles entirely different than our own. And indeed, the unmetered music of the gamelan is fun-

25

Pieces identified as jineman might also be included here since they also do not have a regular gong structure. However, they are unique in their orchestration, involving only some of the gamelan instruments (most of the balungan instruments are excluded). 26 I use the word ‘may’ here because there are, of course, several exceptions in which the stroke of gong is indeed quite regular (the Solonese ayak-ayakan patalon and srepegan in sléndro manyura are two examples found in my transcriptions).

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damentally similar to Western music in one respect: it is linearly organized. The unmetered music is almost entirely vocally oriented, and the pieces are sometimes broadly defined as sekar (song), although it might be instrumentally performed.27 In wayang kulit, the music consists of solo vocal singing, in most cases by the dhalang, accompanied by only a few instruments of the gamelan. Three main types can be found in the transcribed performance: buka celuk, uran-uran, and sulukan. Buka celuk is a vocal introduction to a gamelan composition. These may be a single line of sung text associated with a particular piece (as with the example just cited) or they may be complete poetic forms, the most commonly heard are known as sekar ageng. Uran-uran is freestyle unaccompanied singing.28 Such singing might be incorporated into the wayang story: for example, the character Biyung sings a macapat (a genre of traditional poetry) called Dhandhanggula Sida Asih to comfort the weeping Banowati (following item 1006 in the text transcription and Appendix X for the corresponding music transcription). Here, dhandhanggula refers to the specific poetic meter made up of ten lines with the following syllable count and vowel endings: 10/i, 10/a, 8/e, 7/u, 9/i, 7/a, 6/u, 8/a, 12/i, 7/a. Sida Asih refers to the particular text in this poetic meter, and to the melody associated with it. Both buka celuk and uran-uran are sung without accompaniment, except for the soft sounds of the instrument gendèr that help the singer find his or her pitches, and the occasional punctuation of gong at the ends of phrases. The third type, sulukan (or simply suluk), is the most important form of sekar in wayang kulit and defined as ‘the tetembangan [poetry] that the dhalang sings when performing a wayang’ (Probohardjono 1984:489). The songs of this type are grouped into three main categories: 1. pathetan (or pathet), 2. sendhon, and 3. ada-ada (pronounced ådå-ådå). Pathetan (called lagon in Yogyakarta) are subdued descriptive verses of varying length accompanied by gendèr, rebab, gambang, and suling. Sendhon are made up of emotional verses, usually sad or erotic in nature, accompanied by gendèr, gambang, and suling. Ada-ada are verses conveying anger or excitement accompanied only by the gendèr and a steady rhythmical knocking on the puppet box by the dhalang with his cempala (a conical-shaped wooden beater).29 All three categories of sulukan are differentiated according to pathet (mode). Pathetan are also identified by size: ageng (‘great’), extended; wantah (or wetah: ‘intact’) normal or complete; and jugag, abbreviated.30 Thus, the sulukan known as pathet nem ageng laras

27 In concert style gamelan playing, some sekar (those known as pathetan) are performed without singing. 28 Sometimes the term uran-uran is used interchangeably with palaran. 29 The dhalang actually uses two cempala: one is hand-held and a another smaller one is placed between the first two toes of his right foot to be used when his hands are unavailable. 30 Shortened forms of ada-ada, as well, are often designated with the term jugag.

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sléndro is an extended pathetan in sléndro tuning and the mode (pathet) of nem (played in the early part of the evening). Cueing the gamelan Thus far, we have examined both the dramatic and musical elements of wayang kulit, but we have not yet reached any understanding of how these two realms are brought together into a coherent whole. Few Western scholars have examined this aspect of performance in wayang kulit.31 This is surprising when we consider that the performers use no notation and the dhalang sits with his back to the musicians – even turning his face toward the back or gesturing to the musicians is considered bad form. How, then, do the musicians know when and what pieces to play during a wayang performance? Theoretically, they are simply cued by the dhalang who carries the burden of such decisions. We shall see, however, that the process of musical cueing is extremely complex and based upon mutual trust and cooperation between the dhalang and his musicians. The dhalang provides musical cues for his troupe in six ways: 1. dialogue and direct request, 2. buka celuk (vocal introductions), 3. wangsalan (riddles), 4. puppet movement (visual cues), 5. by kombangan (sung pitches), and 6. dhodhogan (knocks). These musical cues generally contain one or both of the following kinds of information: what the musicians should do and when to do whatever it is they should do. In wayang, a cue may only convey, for example, the name of the piece to be performed, but not when it should be performed. The dhalang will then use a second cue to start that particular piece. On the other hand, a cue may only tell the troupe that something should be initiated but not what it is. Here, it is the context in which the cue is executed that dictates what it is the musicians should do. In some cases, however, the decision of what piece to play is left up to either the drummer or the rebab (spike fiddle) player who conveys his choice to the others through his buka (musical introduction). The most obvious cues for music are those made in dialogue and through direct requests. In dialogues a signal may be conveyed to the troupe when one character tells another character that he or she will sing or dance, such as in the example of Biyung singing for Banowati in the performance (see item 1006 in the text transcription and translation). The dhalang may also make a request through a character, usually one of the clowns, who will speak 31

One notable exception is Ernst Heins (1970). More recently, however, Benjamin Brinner’s outstanding study (1995) of musical interaction and competence in gamelan performance addresses the matter of cueing in detail and depth (see especially Chapter IX).

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directly to the troupe and ask them to play a piece. This kind of cue is used exclusively during the comic interlude, when the dhalang has fewer narrative constraints, although he still speaks through one of the clown characters. Since the dhalang takes requests from the sponsor (of the performance) and any important guest, it is an especially convenient way for the dhalang to announce the pieces requested.32 The cue, however, does not tell the troupe when to start the piece and the dhalang must knock to inform his musicians to begin. Several examples may be found in the gara-gara section of the translated performance: Semar, the most revered of the clowns, asks a pesindhèn (female vocalist) to sing a pathetan and tells the troupe to continue with the piece Puji Astuti (see under item 553); later, the clown Garèng requests the Banyumas piece, Gunungsari Kalibagoran even specifying the pathet (pathet sanga, item 576); another clown, Pétruk asks for Mijil Kethoprak (items 611-617) as well as Gunung Galunggung followed by Mojang Priangan (items 628-635); finally, Bawor, the youngest clown, requests the piece Nini Thowok preceded by the buka celuk (vocal introduction) Tukang Cukur (items 654-661). The dhalang himself may also sing a buka celuk as a signal to begin a particular piece. A buka celuk is simply a distinct vocal introduction to a piece or it is made up of the first few words with a recognizable melody. In this case, the cue not only informs the musicians what piece to play but also tells them exactly when to begin. Another method of cueing a piece is through wangsalan, a kind of wordplay or riddle. There are several type of wangsalan, some more strictly defined according to poetic structure (such as the wangsalan sung by the female vocalists). In this case, however, the wangsalan is simply a phrase, incorporated into the dhalang’s narration, in which the title of a piece is encrypted. The title is hidden in the phrase one of two ways. First, it may be hidden semantically. That is, the phrase simply evokes the meaning of the title. For example, the dhalang may say ‘kadya swara bremara’ (‘like the sound of the bumble bee’) to refer to the piece Laler Mengeng (‘Buzzing Fly’). The analogy, perhaps, would be for me to say the phrase ‘like an elven lord’ to evoke Schubert’s Der Erlkönig. Second, the title of the piece may be incorporated directly into a phrase of the narration. An example of this type may be found in our story, in item 194: the phrase ‘gumléyong yayah mendhung ketiuping maruta’, (swayed like a thundercloud blown forth by the wind) refers to the piece, Ladrang Gléyong. Javanese sources on the art of shadow puppetry list dozens of pieces and their corresponding wangsalan. Since such cues do not inform the musicians when to start, they must be followed by knocks on the puppet box.

32

In village performances, I have often heard the dhalang not only state the name of the piece but also the name of the person requesting it (usually the sponsor or an important guest).

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Visual cues through puppet movement most commonly involve tempo changes in a piece accompanying action on the screen. These cues are observed by the drummer who in turn signals the troupe. In the translated story, Baladéwa throws his magical spear and at the moment it strikes the ogre, Turanggamaya, the drummer suddenly speeds up the tempo of the accompanying piece, a sampak (see under item 201). Timing is extremely important with these cues and the dhalang obviously depends entirely upon his drummer’s alertness and musical skills to execute the tempo change successfully. Most Javanese sources on wayang kulit do not regard kombangan as a method for cueing the gamelan in wayang performance. It is generally understood as the dhalang singing appropriate pitches along with the gamelan. In Banyumas style wayang kulit, however, kombangan can be a cue, sung by the dhalang during a gendhing. Sugino sometimes uses kombangan to signal his troupe for a musical change. It may be to cue the group to udhar: return to normal loudness after playing softly (sirep) during his narration (for example, under item 13), or to segue to another piece (for example, from Ladrang Gléyong to ayak-ayakan, under item 174). Often, however, the dhalang sings a kombangan while also signaling his musicians through knocking (discussed below). Generally, when Sugino sings kombangan, they are accompanied by another signal (such as knocking). In some cases, they are clearly not signals and serve no purpose than simply, as Sugito once told me, to enliven and adorn the music. Perhaps the most important way of cueing the gamelan in wayang kulit is for the dhalang to tap out signals on his puppet box (called kothak, located on his left) or on a set of four to five metal (ideally bronze) plates, called keprak (also known as kecrèk), suspended from the nearest side of the puppet box. The dhalang uses one of two wooden, roughly conical-shaped, beaters called cempala: a large one grasped in his left hand and a small one placed between the two first toes of his right foot (he sits cross legged).33 Javanese sources on wayang kulit call such cueing dhodhogan or keprakan, and they provide detailed instructions for the various kinds of signals the dhalang needs to convey to his musicians (usually by way of the drummer). For the purposes of our discussion, we might best consider the knocks a kind of code, each signal to the gamelan a pattern consisting of ‘long’ and ‘short’ beats (a ‘short’ beat is always immediately followed by another beat). Using a similar principle, the Javanese sources refer to a single knock as dhog (sometimes dhèg or dhug). Using the syllable dhe-, a ‘short’ beat is conceived in terms of the beat following it. Thus, ‘short-long’ is referred to as dhedhog

33

Sugino, however, uses a metal cempala for his foot to create a particularly sharp sound.

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or dherog. We could perhaps think of our own well-known pattern of knocks based upon the phrase, ‘shave and a haircut, two bits,’ as long-short-shortlong-long, long-long. Using the Javanese syllables this pattern might perhaps be: dhog dheredhog dhog, dhog dhog. Perhaps the single most widely used pattern of knocks is short-long-long (expressed by dhalang and musicians as dherogdhog or dherodhug). It is probably heard more often than any other cue because it used for many different purposes. A common function, for example, is to request sirep (quiet gamelan playing to accompany narration). The pattern is executed shortly before a structural point in a piece (such as at a kenong or gong stroke) and often accompanied by a kombangan. In the transcribed performance, An example of this kind of signal occurs during srepegan, when Sugino cues a sirep to narrate a brief description of Gatotkaca’s resourcefulness as the hero flies off to intercept the ogre, Turanggadhèsthi (item 498). In this same scene, the signal is also used together with a kombangan to ask the group to segue from Sampak laras sléndro pathet nem to Palaran Asmarandana (see under item 497). In another scene (see under item 245), the signal is used to cue the group to play any gendhing: the rebab player decides which piece and informs the other musicians of his choice through his buka (introduction). Other patterns convey more specific information and tell the musicians both what to play and when to play. For example, the pattern ‘short-long short-long short-long short-long short-long, etc.’ (dhedhog dhedhog dhedhog dhedhog dhedhog) informs the group to play srepegan and cues the drummer to begin his introduction. The dhalang may tap out his cues either on the large wooden puppet-box or on the suspended metal plates of the keprak. It is the patterning of short and long knocks that convey information to the musicians. The speed in which the signal is tapped out also tells the musicians how fast the srepegan should be played. In addition to cues the dhalang uses various knocks and clanks or crashes for extra-musical purposes. He may use these to create special audio effects. For example, the sound of the keprak often heightens the illusion of fierce battle. The dhalang strikes the keprak with his foot, with his drummer providing additional sounds,34 while his two hands manipulates a pair of puppets engaged in battle. The effect is startlingly realistic as the puppets pummel and stab at one another in violent combat. The drummer watches the screen closely using various kinds of drum strokes to coincide with the action in strategic syncopation to the sounds of the keprak. The dhalang also uses these sounds to create and sustain dramatic ten-

34

The drummer for another troupe I saw had a set of cymbals on a stand and struck them with his hand during battle scenes.

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sion. In scenes involving intense emotions such as anger or excitement, the dhalang raps out persistent steady beats either on the box or on the keprak (creating a pulsating crashing sound) to heighten tension, a rhythm known as banyu tumètès (‘dripping water’), while the gamelan plays. These beats are tapped out as relatively slow triplets against the duple rhythmic organization of a srepegan or sampak. When the tension is extremely high or to signal sulukan ada-ada (described earlier), the dhalang may use the pattern known as ngganter or ngeter. It involves playing in a rhythm similar to banyu tumètès but considerably faster and broken up into phrases, each beginning with a kind of roll (three or four extremely fast knocks). Thus, the dhalang’s signals might be imbedded within a more generalized layer of extra-musical sound effects and musicians must be particularly alert to hear them.

chapter iv

Wayang temporalities Framing the performance: Overture The music that accompanies wayang defines ritual space and time, sacralizing the place of performance, filling the air with potent sound and creating the bustling carnival atmosphere so important to Javanese celebrations.1 It places the event in a time out of time,2 a narrative past with its own unique temporal logic. The music of the gamelan is crucial to wayang kulit because it impels the performance, providing abstract but widely understood aural metaphors for the various moods and movements associated with certain scenes and characters. It also provides structure for the narration, punctuating various sections of the narrative, and even framing the entire performance. Indeed, the performance is made into a cohesive whole through pathet. Wayang kulit presents a mythical past to its Javanese audiences: it traces a direct line from the modern Javanese aristocracy to the kings of Majapahit, further back to the legendary saint, Jayabaya, and into an even more remote past peopled by gods, heroes, ogres, and demons.3 Its highly stylized puppets depict characters that form the models for Javanese behavioral standards and its stories posit complex ethical and moral dilemmas open to multiple interpretations. The character Bima, for example, is not only a person who appears in many wayang stories, he is a powerful cultural symbol of virtue and valor. Wayang, then, forms a cultural wellspring from which the Javanese constantly draw to define themselves individually and as a people. The overture, or talu, provides an abstract frame for the mythical world of wayang kulit, allowing the audience to traverse freely between the ordinary and the extraordinary. It is the initial step in bringing together and transform1

This section is drawn from an article I wrote with Deborah Wong (Wong and Lysloff 1991). 2 In speaking of the festival, Falassi (1987:4) describes time out of time as ‘a special dimension devoted to special activities [...] not so much to be perceived and measured in days or hours, but to be divided internally by what happens within it from its beginning to its end’. 3 See further Brandon 1970. Many Javanese books on wayang genealogies in fact begin with Adam and Eve.

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ing the realm of the situational and the realm of the mythical. This transformation does not necessarily require belief on the part of audience members – to argue that the Javanese must ‘believe’ to partake of this mythical world of wayang would be naive. Instead, the audience needs only to suspend disbelief, to accept. Music plays a important role here, and its power over the subjective mind was often noted by my Javanese friends. The music of the gamelan, informants tell me, can enrapture or transport its listeners (nganyut) and, although the pieces in the talu seem to have no particular qualities that distinguish them from other pieces in the gamelan repertory, the celebratory context of a wayang performance embues them with a power far beyond those compositions played in concert settings. Indeed, in some rituals, such as èbèg (hobby-horse dance), the music of the gamelan can send participants and even some audience members into ecstatic trance and possession.4 On the other hand, music can define situations – it surely does in wayang. The first four pieces of the talu belong to a family of forms simply called gendhing, played to create static scenes when the dhalang describes place, person, or situation.5 On the other hand, I have already mentioned that pieces like Ayak-ayakan, Srepegan, and Sampak, are known as gendhing lampahan, or ‘movement gendhing’.6 They accompany the movements of puppets as they dance, fly, journey, or engage in battle. Ayak-ayakan is generally used only for the most refined and highest ranking characters: kings as they arrive at or depart from court or gods as they descend from or ascend to heaven. Srepegan is heard in the battles, journeys, and flights of most of the other characters while Sampak accompanies the most furious battles as well as the movements of ogres, demons, and other extremely vigorous characters. Most audience members are very much aware of the kind of puppet movement associated with these last three pieces.7 Talu is a medley of progressively smaller forms. With each successive form, the gong cycles become shorter and the various strokes of other punctuating instruments also denser. As the gong cycles grow progressively shorter

4

For example, in Banyumas, I often observed audience members go into trance along with the dancers. I was told that these people had, at some point in their lives, given themselves over to indigenous beliefs and practices (therefore, turning away from Islam) and were therefore susceptible to the powers of the music, going into trance even against their will. 5 The term gendhing refers either to any piece composed for or played by the Javanese gamelan or to a category of gamelan musical form characterized by the absence of strokes on the punctuating instrument kempul. For more on the formal aspects of Central Javanese gamelan music, see Vetter 1977. 6 This genre of gamelan music has recently also been the subject of considerable debate (see Susilo 1988; Hughes 1988; Perlman 1983; Becker and Becker 1983). 7 It may be that all the pieces that make up a talu simply prepare the audience for the various kinds of gamelan music they will hear in the subsequent wayang performance.

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the various punctuating (or colotomic) instruments are sounded more and more frequently.8 The talu thus moves from large to small forms, from sparse to dense punctuation, and from relative calm to violently agitated.9 In the last three pieces, beginning with Ayak-ayakan, the main melody (balungan) becomes increasingly simpler, with fewer leaps and more motivic repetition, until in the final piece, Sampak, the balungan seems to be less a melody than simply a series of loudly reiterated pitches. Indeed, the talu also undergoes several distinct shifts in texture, progressing from a diffusion of musical activity among the soft-style elaborating instruments and vocal parts to the successively clearer and more rhythmically marked but thinner textures of the last three pieces.10 By the final piece, the soft-style instruments and the singing have all dropped out and the texture is made up of hardly more than balungan and punctuating instruments, pressing rapidly toward the final stroke of the great gong, or gong ageng. Viewed from a somewhat different perspective, the increasingly closer occurrences of the gong stroke adds to a sense of intensifying focus and direction. The gong, I was often told, is at the center of gamelan music and it is sometimes seen as the source of all sound.11 Ward Keeler (1987:227) notes that The gong [...] fits into a gendhing’s diffuse context as a massive, form-determining stroke, contrasting with other instruments by the enormous range of its overtones. It thereby drives all the other instruments out of hearing. As its sound diminishes, the sense of diffuseness and equilibrium returns.

It is no surprise, perhaps, that the terms gong (for the instrument), agung or ageng (‘great’) and gunung (‘mountain’) are all etymologically related.12 The gong, according to Judith Becker (1988), is both a physical and an aural symbol for the great forces of nature and is in turn associated with traditional authority. 8

Colotomic instruments include large horizontally-suspended gongs, kenong; vertically-suspended gongs, kempul, the small horizontally-suspended gong, kethuk; and of course the great vertically suspended gongs, gong ageng and gong siyem (or gong suwukan). 9 The fourth piece, Sukmailang, is an exception since it is relatively calmer than the piece that precedes it and, though the gong cycle is smaller, the density of other punctuating instruments is the same. 10 By diffusion of focus, I do not mean to imply that the music is vague. Rather, its texture is thick with elaborating melodies and no single part is featured above the other parts. 11 McDermott and Sumarsam (1975:237) write, for example, that ‘the low sound of the gong is the protean element of Central Javanese music, the beginning and ending of pieces, the single most important sound out of which all other sounds are said to arise and to which they all descend in return’. 12 Becker (1988:387) notes that ‘The word for mountain, gunung, comes from the same root as the word for gong, i.e., ‘gung’.

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Through homologous associations with autochthonous energies of nature, gong ensembles and their music became metaphors for natural forces and became the instruments for the control of natural forces. Fused with the imported Indic metaphor of female power, sakti, these interpretations endowed the gamelan ensemble with a special aura that forged the link to figures of authority, to the kings and princes of the realm. (Becker 1988:385.)

As gong strokes occur more frequently and closer together, the mood of the music changes from calm and restrained to lively and playful, even violent and forceful by the end of the talu. Further, I also mentioned previously that most gendhing lampahan are generally irregular in form.13 That is, gong strokes do not occur with formal predictability. This feature might be associated with the random quality of the elemental forces of nature: thunder, rain, volcanic activity, and so forth are not regular in occurrence. The talu also has broader philosophical and mystical implications. Javanese sources­­ascribe a great deal of symbolic significance to shadow-puppetry. The talu is particularly rich in meaning, perhaps because of its abstract nature (being made up only of sound) and its allusion to and anticipation of the larger issues in Javanese cosmology presented in a performance of wayang.14 Whether in written sources or through interviews, all of the metaphysical discussions I have come across focused upon the most widely known talu in Central Java, a medley made up of at least seven pieces all in the pathet (or mode) of manyura: 1 2 3 4 5 6 7

Gendhing Cucur Bawuk15 Inggah Paréanom Ladrang Srikaton Ketawang Sukmailang Ayak-ayakan [Patalon] Srepegan [Patalon] Sampak [Patalon]

Several dhalang I spoke with felt that this talu had particular symbolic significance, referring to the cycle of human life. As the scholar-dhalang Sutrisno writes, the talu tells teaches us that ‘one lives only one life’.16 He mentions that the first four pieces in the talu symbolize the various stages of human existence: Cucur Bawuk represents birth, Paréanom youth, Srikaton adult, and

13 However, the Solonese-style Ayak-ayakan, Srepegan, and Sampak played in the talu discussed here make up three of the very few gendhing lampahan with regularly recurring gong strokes. 14 See, for example, Mangkunegara VII (1957). 15 Generally, the term gendhing means ‘gamelan composition,’ but here, however, it refers specifically to a musical form. 16 My translation of the phrase ‘orang hidup sekali hidup’.

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Sukmailang death (Sutrisno 1984:67). The dhalang I interviewed had more elaborate interpretations extracted from the gloss of each title in the medley: the expression cucur bawuk refers to the impregnation of the virgin womb (from cucur, ‘a kind of delicacy’, and bawuk, ‘female genitals’); paré anom to the fetus (from paré, a kind of vine, and anom, ‘youth or young’); sri katon to birth (from sri, ‘his/her majesty’, and katon, ‘to be visible’); and sukma ilang to death (from [or suksma], ‘soul, spirit’, and ilang, ‘lost, gone’). Sugito, on the other hand, stated that cucur bawuk referred to afterbirth (in this case glossing cucur as ‘that which gushes forth’), paré anom to youth, sri katon to adulthood (from ‘visible greatness [another meaning of sri]’), and sukma ilang to old age and death.17 Another dhalang added that the last three pieces, Ayak-ayakan, Srepegan, and Sampak, refer to a quickening in the approach toward death.18 He noted that it is also significant for the talu to be in the musical mode, or pathet, of manyura since the order of pathet in wayang begins with nem, followed by sanga, and concluding with manyura. Indeed, several dhalang mentioned that these three pathet not only form the structural underpinnings of wayang but also refer to the life cycle: pathet nem to youth, sanga to adulthood, and manyura to old age and death.19 Since the talu is in pathet manyura and also begins the performance, it closes one cycle even as it opens another, signifying the continuous rotation of the great cosmological wheel of life.20 The popular Indonesian wayang expert, Sri Mulyono (1978:102), takes this idea even further and attaches religious meaning to the talu. He argues that the talu represents a preordained scheme for the different stages of the human life-cycle: Thus, these pieces are played before the wayang kulit performance begins [because] they are meant to represent the manifestations of existence determined [even] before man is born into worldly being. [The talu] suggests a scheme for the stages of the human life-cycle ordained long before in the realm of the eternal [my translation].

In another book (1983), Sri Mulyono departs somewhat from this view and applies an additional mystical perspective to his interpretation. His

17

Mangkunegara VII (1957) presents a similar interpretation. The self-styled mystic, Séno-Sastroamidjojo (1964:179-80), also evokes the cycle of human existence in his singular interpretation. 19 The late musician-scholar of Yogyakarta, Sastapustaka, once used this personal interpretation of wayang. Already an elderly man in 1979, he referred to himself as being in pathet manyura. Ward Keeler also seems to have come across this interpretation in his own research (see Keeler 1987:244). 20 This was first pointed out to me by Sastrapustaka during a discussion in 1979. 18

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discussion becomes entangled in an unusual theosophy, with elements of Buddhism, Javanese concepts of kebatinan (the divine self), and Islamic mysticism – all inspired by symbolic numerology. The basis for his sometimes convoluted, sometimes opaque, mystical explication of talu is the significance he infers from the number seven. The seven pieces of the talu, he writes, are meant to signify the seven levels of ‘divine incarnation’ or the seven ranks ‘[of existence]’ (p. 107). Sri Mulyono adds that, until the talu finishes, the dhalang – representing the divine spirit (roh) – is not visible. That is, he is not yet incarnate. When he ascends the stage, with the beginning of the story, he then becomes visible and thus gives life to his puppets (p. 107).21 It is clear from these examples that interpretations of talu (and wayang) are similar in one basic theme: it symbolizes the cycle of life. In general, Javanese exegeses of both the talu, and the wayang that follows it, tend to be curiously uncritical. It doesn’t seem to bother the Javanese I have spoken with that other pieces are sometimes used for the talu, and that these pieces do not carry the kind of symbolism associated with the Cucur Bawuk medley. Keeler (1987:245) notes that Javanese exegesis of wayang is ‘stunningly reductive’ with the aim of halting further and more detailed interpretations of most performances.22 Every performance becomes perfectly equivalent to every other. To take the progress of all performances as Everyman’s passage through life accomplishes this closure with particular efficacy, since it limits the meaning of the whole to the experience of only one person, and it posits the universal validity of that experience, at least as an ideal. Exegetes are thus saved from the implications of any particular lakon [story], and from any relevance of wayang to the rest of life except as expressed in the most domesticated of homilies. They are saved, in a word, from exegesis.

Similarly, exegeses of talu are reduced to variations on an ‘Everyman’s’ lifecycle theme extracted out of the Cucur Bawuk medley. As far as I could determine, no such elaborate interpretation exists for any other talu. The Cucur Bawuk medley has come to represent the ideal talu and other medleys are 21

Sri Mulyono’s intrepretation is, at least to me, the strangest I have come across, especially in view of his practical background. According a brief biography on the back cover of one of his many books (1978), Sri Mulyono (born in 1930) has a degree in engineering and was a general in the Indonesian air force. It also mentions that he is a performing dhalang and pursuing a degree in philosophy at Universitas Indonesia in Jakarta. 22 There are of course notable exceptions. Classic stories like Déwa Ruci and Arjuna Wiwaha, for example, are often discussed in great length by Javanese (and Western) wayang experts, but they make up only a very small part of the repertory. Keeler (1987:244) argues that the commentary on these lakon (stories) ‘does not constitute an exegetical approach applicable to other lakon’.

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simply subsumed under its symbolic domain. One talu medley I sometimes heard in the Banyumas region (west Central Java), for example, is a completely different collection of pieces, all in the mode (pathet) sanga:23 1 2 3 4 5 6 7

Gendhing Gambir Sawit24 Inggah25 Ladrang Gonjang-ganjing Ketawang Rajaswala Ayak-ayakan Srepegan Sampak

Furthermore, a talu medley may be varied in several ways. Some pieces may be replaced by others, or deleted altogether, or pieces may be added through infixing. For example, the Srepegan may include one or more palaran, a type of composition featuring one singer and in which the main melody instruments drop out. On the other hand, the talu may consist only of the last three pieces of the medley (Ayak-ayakan, Srepegan, Sampak). Generally, however, whatever the choice of pieces, the only firm rule is that a talu medley follow the formal sequence of larger to smaller musical structures. Thus, I believe it is the idea of talu (that is, a ‘wayang overture’ with a specific musical formal progression) that has come to symbolize the human life cycle. The Cucur Bawuk medley either may have been the original inspiration for the idea or it simply serves as a convenient illustrative example. A disruption in mythical time: Gara-gara The term gara-gara is common coin in both the Javanese and Indonesian languages and widely used to describe conditions of mayhem, uproar, confusion, and general unhappiness.26 In Central Javanese wayang kulit, the term has even greater implications and refers to a specific dramatic phenomenon in the performance. Brought about through a crisis in the narrative, gara-gara represents an upheaval of the wayang cosmos, a retreat into complete chaos that spreads from the world of mortals to the realm of the gods and culminates in the liminal domain of the clowns.

23

However, the Solonese style talu (Cucur Bawuk, etc.) is by far the most popular among the troupes I’ve seen. 24 Gambir Sawit is also often performed in Yogyanese-style talu. 25 Unlike the inggah (called ndhawah in Yogya) of the Solonese talu piece, Cucur Bawuk, this second section does not have a different name. 26 This section is drawn from an earlier article (Lysloff 1993).

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Gara-gara is a part of the evening’s performance in which dramatic time is disrupted and clowns make their appearance to entertain, with songs and general tomfoolery, both the audience and characters of the story. In Sugino’s performances as well as those by several other Banyumas dhalang that I watched, gara-gara is a distinct interlude in which the unfolding story is literally interrupted. Unlike Solonese style shadow-puppet theater, gara-gara in Banyumas is not a scene but something outside of, yet resulting from, the dhalang’s narration. Narrative time stops, and the audience is plunged into a realm of betwixt and between, where dangerous forces have been set into motion, attenuated only through humor and entertainment by the clowns. Multiplicity of time in wayang In his seminal article on wayang, A.L. Becker (1979:227) makes two important statements about time that form the basis of this study: The time enacted within wayang is unconstrained, except that it must be multiple. Coincidences are timeless.

In this section, I want to examine these two aspects of wayang: the multiplicity of time and the timelessness of coincidence. While Becker’s study focuses mainly on narrative, my work concerns the three processes that constitute a wayang performance: music, drama, and ritual. In the rural Javanese tradition of wayang, these processes are inseparable. All three individually reflect a particular way of understanding reality and mutually reinforce that understanding in the performative act. The gara-gara section of Banyumas-style wayang is of particular interest because it dramatizes the critical period in the life of humans that is especially fraught with danger: the transition from one social state to another. It captures this pivotal moment of crisis and presents it as a timeless state in which all things hang in the balance. The gara-gara is to wayang what the gong stroke is to a gamelan composition: that great moment of simultaneity in which all events are linked together. It is a timeless coincidence that brings the mythical past into direct juxtaposition with the immediate present. Wayang, like many other narrative forms, constitutes what A.L. Becker calls ‘a multiplicity of time,’ a temporal universe made up of multiple chronotopes (space-times),27 each extended, elided, according to the needs of the 27

I am borrowing this term from M.M. Bakhtin (1981) who in turn borrowed it from the scientific realm to refer to ‘the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature’ (Bakhtin 1981:84). The chronotope, he argues, represents distinct categories of existence in which spatial and temporal indicators are fused into one carefully thought-out, concrete whole. Time, as it were, thickens, takes on flesh, becomes artistically

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particular story. In attending a wayang performance, the audience is drawn into the temporal universe built by the dhalang. Referring again to the earlier quote by A.L. Becker, we can say that it is coincidence that connects the multiplicity of time in a wayang narrative. Coincidences are points of intersection, where disparate chronotopes (or epistemologies, as Becker thinks of them) are conjoined. One might say that wayang is ‘about’ time. Each performance marks and sacralizes the passage of human and natural time. In Banyumas, wayang as mainly performed as part of what Geertz (1960:268) calls the ‘abangan ritualistic-polytheistic-magical religious pattern’, celebrating life-cycle and calendrical events such as births, marriages, circumcisions, harvests, the successful building of homes, the fulfilling of vows, and so forth.28 It may also be performed to get through potentially dangerous times, such as long journeys and new business ventures. I watched one performance, for example, held to bring about the safe dynamiting of a mountain whose rocks were to be used in the construction of a major dam providing electricity for the entire region of Banjarnegara. Finally, wayang is occasionally performed as part of a purification ritual, known as ruwatan, to protect certain people (in most cases, children) threatened by the god, Kala.29 To be sure, many other kinds of ritual are held in Java, but the ones involving a wayang performance all mark either the beginning or the successful completion of a possibly hazardous time. Internally, the theme of time is crucial to the structuring of each and every performance. I already mentioned that the narrative portion of wayang is made up of three main divisions defined by musical mode, or pathet. These divisions provide a basic structure for the narration and mark the progression of dramatic time: 1. introduction and increasing tension (pathet nem), 2. crisis (pathet sanga), and 3. resolution (pathet manyura).30 The three divisions, too, are about time. Each is associated with a period in the human life cycle and marks the drama of life: 1. birth and childhood – the seeds of discord; 2. youth – crisis and conflict (that is, the struggle between virtue and evil); and 3. old age and death – or, in other words, resolution (the triumph of virtue over evil). It is important to note here that these are not just notions held

visible; likewise, space becomes charged and responsive to the movements of time, plot and history. This intersection of axes and fusion of indicators characterizes the artistic chronotope (p. 84). 28 The term abangan refers to the Javanese, predominantly from the rural areas, whose religious life is a mixture of Islam, Hinduism, and indigenous animism. 29 For more on such ritual wayang performances, see Rassers (1959:3-56). 30 However, the recently developed form of wayang, known as wayang padat (‘dense’ wayang), is abbreviated in length and less clear in its form. These are, to my knowledge, rarely performed outside of music conservatories. For an overview of traditional Central Javanese wayang theater, see Brandon 1970 and A.L. Becker 1979.

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by mystics or wayang aficionados. They are considered truisms, commonly expressed among lay audience members and widely written about in popular literature on wayang.31 The story I translated revolves around the issue of paternity. The Pandhawa hero, Bima, had a relationship with a young women during one his adventures, resulting in a male child. Bima apparently did not know that the young woman was in fact Wrekatawati, daughter of the elder god, Wrekatatama. The boy, known as Srenggini, eventually comes to Ngamarta to claim his birthright as the son of Bima. However, at the advice of the priest Durna (who, it seems, is always stirring up trouble for the Pandhawas), Bima denies any relationship with Srenggini and banishes him from the Kingdom of Ngamarta after beating him for his insolence. As a result of this injustice, Bima, and the rest of the Pandhawas (as well as Durna), must then endure kuwalat, divine retribution. Indeed, the Pandhawas suffer severely. Bima becomes an emerald-eyed elephant, his two younger brothers, Nakula and Sadéwa, forest deer. The oldest brother, gentle Yudhistira, changes (ironically) into a giant ogre and the beloved Arjuna falls into a lifeless coma. Finally, and worst of all, the world descends into a bleak and dark period of gara-gara. To bring about gara-gara, Sugino must interrupt the flow of dramatic time he has already so carefully set up. In his performances, gara-gara is always announced at the end of the first division of the evening, pathet nem, when the story reaches a crisis – at the culmination of a very violent battle in which a hero is defeated.32 Near the end of the first division, Sugino precipitates the crisis by an encounter between Gathotkaca (another, legitimate, son of Bima) and a supernaturally powerful ogre. In this chronotope, Gathotkaca comes across the ogre while patrolling the distant borders of the kingdom and searching for his half-brother, the banished Srenggini. The hero is defeated after a ferocious battle when the ogre gathers his powers and exhales a magical breath that blows Gathotkaca up and away, trapping him in the middle of a storm cloud. The crisis is precipitated not only by the battle itself but also as a result of the direct confrontation of opposing kingdoms represented by the two characters: the kingdom of the ogre is in fact the source of the curse that has fallen upon Gatotkaca’s family and kingdom. Coincidence brought the two characters and their respective kingdoms (both presented earlier in the story) into immediate conflict – the former (unknowingly) seeking redress for an injustice and the latter wishing to rectify a past offense (committed unwittingly). The karmic repercussions of the injustice against Srenggini are thus 31

See, for example, Mulyono 1978 and 1983 and Séno-Sastroamidjojo 1964. Such battles are considered unresolved (perang gagal) since no character has been fatally injured. 32

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played out on a field of battle and, victorious, the ogre is able continue with his evil mission: to abduct the comatose Arjuna and have him beheaded. The immensity of the conflict becomes apparent only later in the narrative. The ogre’s king is in reality a human incarnation of the god, Wrekatatama, grandfather of Bima’s illegitimate son, Srenggini. In the battle between Gathotkaca and the ogre, the gamelan plays an energetic and reiterative Sampak. When Gathotkaca is swept away into the sky, the music suddenly changes in character, becoming a stately Ayak-ayakan,33 and Sugino sings an announcement of the upcoming gara-gara. Following Ayakayakan, he introduces pathet sanga, the second division of the evening, with a very calm sulukan (generically called a pathetan). The first two lines of the text comment on the progression of real time: The evening grows more beautiful under the twinkling stars, In the desolate midnight a flowery fragrance spreads, Oh, adorned by his praises, Oh, [the holy man] Sang Dwijawara hums softly to himself, Like the voice of the bee, Singing in gratitude for its pollen.

Sugino has now effectively stopped narrative time and brought the mood from anger and violence to one of serenity and peace. He has also at this point planted his kayon straight up at the center of the screen, marking the beginning of second division of the evening. After summarizing the story’s progression thus far, Sugino states The story [is] interrupted by the arrival of a different era, a change in the universe of pathet nem [that is, the mode of six] to that of pathet sanga [the mode of nine]. In the calculations of the ancient numbers, nine earthly omens signify the coming of turmoil: gara-gara. The universe entered into turmoil because the revered kingdom of Ngamarta suffered under the wrath of the gods.

Singing the first two words of the text, Sugino then cues another sulukan which is continued by one of the female singers. The mood is still serene but now somewhat melancholy, suggested by the flatted tones of the vocal line. It tells of the loneliness and splendor of the night as well as the possibly erotic secrets it holds. The gamelan enters at the end of the sulukan with a brief reiterative melody played progressively faster and louder until it comes to an abrupt stop where Sugino then continues with yet another but now agitated 33

This piece usually accompanies the arrivals and departures of priests, kings, and gods. Most ayak-ayakan are characterized by a more deliberate tempo and thicker texture (the soft-style instruments and vocals are heard as well) than the relatively fast and sparse sampak. Here, the title of the piece is Ayak-ayakan Sléndro Nem.

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sulukan, called ada-ada, accompanying himself with fast and loud knocks on his puppet box. This sulukan not only changes the mood from serenity to violence, but it also counts down the time of gara-gara: One is the world, two the rice field, three the mountain, Four the ocean, five the tree, Six the pasture, seven the priest, eight the sky, Nine the gods, and ten the king.

In Solonese-style wayang this same text is heard in stock narration used to open an optional gara-gara scene (adegan gara-gara) forming part of the story.34 The dhalang ‘counts’ the ten things, places, or people affected by the upheaval. In this case, the scene is performed when a warrior, burdened by worries, stops to rest in a deep and dark forest (see, for example, Nojowirongko 1960 [Vol IV]:21). Some sources (see, for example, Van Ness and Prawirohardjo 1980:53) suggest that gara-gara is a direct result of the turmoil in the mind of the warrior and others (A.L. Becker 1979:221 and Brandon 1970:24) even argue that it is brought about by the warrior’s meditation, upsetting the balance of the cosmos. In Banyumas, on the other hand, the counting refers to the ten epochs of a spreading gara-gara, some even lasting several years. Although not further elaborated in Sugino’s narration, one written source on Banyumas-style wayang (Sena Wangi 1983:124-5) provides a detailed description of increasingly devastating gara-gara (my translation of the original Javanese):35 Eko: one, named the earth. In the first epoch of gara-gara, the world jumped, the mountains rumbled, the ground cracked, and [out of nowhere] came the winds and fires. Dwi: two, named the fields. In the second epoch of gara-gara, dry and wet fields were abandoned, sprouts hung listlessly, and pestilence advanced unlike anything ever before. The farmers departed, for the earth yielded nothing. Tri: three, named the pastures. In the third epoch of gara-gara, the grazing livestock, the oxen, the cattle, all fled in panic like chaff in the wind, for they lacked water. The grass and leaves did not grow because in three years there was no rain.

34

In Yogyakarta, however, gara-gara is an interlude rather than a scene. Books on performing Yogya-style wayang carefully make this clear (see for example Mudjanattistomo et alia 1977:164). As in Banyumas, gara-gara is obligatory in Yogya, but both Yogyanese and Banyumas dhalang may choose to perform in Solonese style. Although Sugino always includes gara-gara (as an interlude) in his performances, he is famous (and often criticized) for mixing styles. 35 I have never heard this text performed and believe that it is included in Sena Wangi only as background material for educational purposes (Sena Wangi is, after all, a kind of textbook for student puppeteers).

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Catur: four, named the sky. In the fourth epoch of gara-gara, the sky was pitch black in darkness, far off was a foreboding sound of thunder, and in the murky night a screaming wind laughed insanely. The rain poured down and the winds became a gale, flooding waters rushed madly, and even the lion was swept away. Panca: five, the mountains. In the fifth epoch of gara-gara, the mountains collapsed with an awesome violence. In seven earthquakes, the trembling land shuddered. The chaos turned everything upside down and all the creatures of the forest fled in panic, each to its own place of safety. Sad: six, the soldiers of the kingdom. In the sixth epoch of gara-gara, the king’s subjects lapsed in their duties, neglecting even their own desires, and no longer knew their masters. And the great laws of the land disintegrated never to be regained. Sapta: seven, the friend. In the seventh epoch of gara-gara, human alliances collapsed. Father shunned child and child shunned father, kinsmen lost their love for one another, and intimacy grew among strangers. Hasta: eight, the priest. In the eighth epoch of gara-gara, the wisemen neglected their duties, they possessed knowledge but were without deed, their incantations without meditation. Filled with arrogance and motivated by greed, their acts brought sorrow to others. Nawa: nine, named the king. In the ninth epoch of gara-gara, the kings left behind their kingdoms only to meditate in solitude, begging favor of the gods while their kingdoms suffered under divine wrath. With the spread of disease and hunger, lacking in food and clothing, the subjects all fell ill. Many ailing in the day and dead by nightfall, others ailing in the night and deceased by daybreak. Like the march of the red ant, death continued to spread relentlessly, and its specter haunted the world. Dasa: ten, the gods. In the tenth epoch of gara-gara, the gods, the nymphs noisily descended from heaven. Earth and heaven became inverted, mud overflowed out of [the sacred volcano] Si Blegedhaba and the [sacred bridge] of Si Ogal-Agil turned and twisted. The [sacred] door Si Kandhawaru broke apart and the flames of hell flared up, the tail of the [holy serpent] Hyang Hanantaboga twitched in alarm, whipping the peak of the [sacred] mountain Jamurdipa. The gods and goddesses all fled in panic, to their own places in the heavens. Finally, in desperation, they begged [the father of gods] Sang Hyang Odipati for his protection.

Following his ‘counting’ ada-ada, Sugino continues with unaccompanied narration and describes an intensifying turmoil that begins with the world of mortals and eventually consumes even kings and the gods. Similar to the above passage, he paints a grimly detailed picture of spreading death and destruction resulting from the effects of gara-gara. The earth turns tilted and the oceans churn, killing the creatures within them; heat waves destroy crops in all the lands and the wet rice fields dry up, the soil cracking to become the hiding place for crawling poisonous vermin; mortals, priest and king alike, all

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fall prey to sickness and suffering; and even the immortal gods endure pain and sorrow. Earthquakes strike seven times a day, mountains burst, volcanoes erupt with bubbling lava, spewing ash and smoke. The sun and moon lose their light and the stars fall from the heavens. Finally, a deep dark and still blackness descends, covering the earth like a layer of dust. Out of this nightmarish world, Sugino tells us, two strange creatures come forth: And from this chaos two boys were born, stunted twins they were. One carrying a magical dipper, to drain the oceans of their water. The other a whisk, to sweep away the world. At a crossroads the two met and there they fought in contest over a maiden.36

In Sugino’s performances, the identity of these two boys remains ominously unclear. However, Brandon’s translation (1970:115) of Wahyu Purba Sedjati (‘The Reincarnation of Rama’), a published wayang story (Siswoharsojo 1966) identifies them as the two clowns Pétruk and Garèng. Another interpretation might be that the passage is an indirect reference to Aji Saka, the legendary king who is said to have created gamelan music and introduced the Javanese script. The legend is evoked in mnemonics based on the syllabary of the script itself and known by every Central Javanese school child: Hana caraka, data sawala, maga batanga, pada jayanya. (There were [two] servants, fighting together, they died, equally victorious.)37 After his narration, Sugino signals his musicians with several sharp knocks on his puppet box as he sings about the coming of gara-gara: The turmoil of the universe [has] arrived, See there! The violence!

By the time the dhalang completes this brief passage, the gamelan has begun playing a kind of overture reminiscent of the talu (discussed earlier) that opens up the evening performance. Similar to the talu, it is a medley of compositions that become increasingly smaller in form, thinner in texture, 36

Based on my translation of Sugino’s Javanese text. This interpretation was suggested to me by Kathy Foley. For more on Aji Saka, see Zurbuchen 1987:102 and Hefner 1985:126-41. Hefner (1985:128) also relates the Tenggerese version of the tale of the two servants: [On his way to the country of Medangkemulian, Ajisaka] realized he forgot his kris dagger. He turned to Setuhu and said, ‘Go fetch my sword and make sure you allow none other than me to have it’. Meanwhile in Mecca, Mohammad found Ajisaka’s kris. He thus commanded his servant [Setia]: ‘Take this sword to Ajisaka and make sure that none other than he takes it from you’. Each of the two servants set out on his journey, and after much travel the two men came face to face. Setuhu spoke to Setia: ‘I have come for my master’s kris’. Setia responded: ‘I can allow no one other than Ajisaka to have it’. Words gave way to struggle as each servant sought to grasp the sword. First Setia pulled it to him, then Setuhu pulled it back, back and forth, until each was pierced by the blade and fell dead. 37

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and more agitated in character. This medley, too, provides the audience with a kind of frame, but now it is a frame within a larger frame. It marks a deeper penetration into the performance and represents a kind of transcendent meditative state.38 The music takes the audience into a realm one source (Mudjanattistomo et alia 1977:164) describes as alam-alaman, a ‘make-believe world,’ in which the clowns imitate or mime the people and events of other places or other times. Sugino also marks gara-gara by reversing his kayon (the tree of life figure). Except, perhaps, for the character Bathara Guru (that is, the god Shiva), the kayon is the most spiritually powerful figure in the dhalang’s repertory of puppets. During the music for the gara-gara, the dhalang picks up the kayon and makes it ‘dance’ to the left and right repeatedly, trembling and fluttering to the accompaniment of the gamelan, finally placing it off to the left. If he uses two kayon, the dhalang places one on each side of the stage area with the reverse side facing him. The curious lack of detail of the reverse side, its fiery colors with a huge boldly drawn demonic face, creates a startling contrast to the delicate and carefully worked front.39 Interestingly, the crudely painted side is invisible to the people watching the shadow side of the screen: they see only the detailed carving of the figure. The huge demonic face on the reverse and a smaller one near the center of the front side are both called Kala, a reference to the ill-begotten and illegitimate son of Shiva (Bathara Guru).40 In another version, Kala is the destroying aspect of Shiva, or Kala-Rudra, who could only be subdued through the performance of wayang.41 Whatever his origins, the monstrous ogre-god Kala is, to paraphrase A.L. Becker (1979:233), Shiva’s power gone amuck. It is perhaps no accident that the Javanese word for Time is in fact kala.42 When the music draws to a close, Sugino introduces his audience to the fanciful puppets that star in the gara-gara: Semar, Garèng, Pétruk, and (in Banyumas) Bawur.43 Of these four clowns, only Semar is discussed in detail by the dhalang since he is not only the father of the other three, but a 38

This idea was suggested to me by Midiyanto, a Solonese dhalang who resides in America. Although I was told that some kayon are simply painted red on the reverse side, the ones I saw all had some sort of glowering Kala face. 40 For more on the origins of Bathara Kala, see Padmosoekotjo (1981-86, II:88-93); for an English summary of the story of Bathara Kala and the related wayang story, Murwakala, see Rassers 1959:47-8. 41 This version appears in Claire Holt (1967:287). 42 Other usages also refer to various temporal concepts: ‘time (of), when, era, moment’ and so forth. Both kala the term and Kala the god are drawn from Sanskrit. See under ‘kala’ in Poerwadarminta (1939) and Prawiroatmodjo (1985) for Modern Javanese and in Zoetmulder (1982), Winter and Ranggawarsita (1987) for old and poetic Javanese. See also Wendall Charles Beane’s discussion (1977:82-3) of the Sanskrit word, kala. 43 Elsewhere in Central Java, the fourth clown is known as Bagong. 39

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powerful god as well – in fact, he is one of the most powerful gods. Yet, his grotesque shape, his constant farting, and his somewhat ambiguous sexuality reflect the topsy-turvy world of gara-gara that is his domain: Relieving this turmoil was a sparkling aura, beaming up to the sky and giving light to the world. It was not the light of plant or animal, but that of the mortal clown, faithful servant of the Pandhawa, known as Semar. His name was also Venerable Flower of Love yet he was Semar the ugly, the shapeless, the pauper, and the unseemly in conduct. Nevertheless, he was a mortal of supreme virtue. Indeed, he was the reincarnation of the god Ismaya despite his external appearance.44 He was also known as Duda Nanang-nunung because he appeared to be a man having the breasts of a woman, or a woman having the features of a man. Not knowing whether he was man or woman, I simply call him Semar (from Lysloff 1990b:399-400).

I won’t spend more time talking about Semar and the other clown puppets except to note that Bawor has special significance in the Banyumas region.45 He is particularly loved by local audiences and often used, and abused, to express regional pride and identity. In one performance I saw, he slyly introduced himself to the audience as Bawor, B.A. He then went on to explain that ‘B.A.’ did not represent a university degree but that it meant, instead, Banyumas asli (that is, ‘genuine Banyumas’). In Solonese style wayang kulit, the clowns ostensibly set out to entertain their master whose heart is heavy, to draw him out of his sadness and get him, as it were, to lighten up. In Banyumas, however, they generally do not interact with other wayang characters at all until the story resumes (at least an hour later in the performance). They joke and argue only with one another or speak directly to the musicians and audience. During the gara-gara Sugino often exploits his omnipotent presence as puppeteer through his clowns. Although he never does speak directly to his audiences (that is, speaking as himself, the man Sugino), he will often refer to himself through his clowns. In one performance I saw, the clown Garèng asked his father, Semar, who it was that sang the piece that had just finished. Semar answered that it was Garèng’s aunt who lives at his home in the hamlet of Notog. Although Garèng was addressing Semar, he was of course speaking to Sugino who indeed lives in Notog. And the female singer they spoke about is Sugino’s sister-in-law and she does in fact live at his (Sugino’s) home. Thus, Sugino deftly obscured the difference between the character Semar and 44

Ismaya is the brother of Bathara Guru (Shiva). For an insightful look at clown figures in Indonesian puppet theater in general and those of West Java in particular, see Foley 1987. 45

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the man performing the role of Semar. If we remind ourselves (and surely we must every so often when we watch good wayang) that this is a conversation executed by only one person, we can appreciate the complexity of the dhalang’s presence in wayang: Sugino, as Garèng, speaking to himself, as Semar, referring to himself, as the dhalang.46 My point in mentioning this is not only to illustrate the dhalang’s skills in dramatic discourse but also to get at another aspect of his manipulation of narrative time. In wayang story-telling, events occur in a kind of heroic or mythological past, implied through the characters themselves (except for the clowns, all are drawn from the ancient epic, Mahabharata). Dialogue among various characters is framed by descriptive narration in the third-person, also implying a narrative past. Yet, the Javanese language does not have the kind of conceptual categories of time found in English: past, present, and future.47 When I translated the text of this wayang story into the English language, I applied the past tense to the narrative simply as a matter of convenience. During the comic interlude, however, the dhalang never speaks in the third-person narrative voice. Indeed, his persona as narrator disappears once Semar, Garèng, Pétruk, and Bawor make their entrance. Thus, when the clowns refer to topical matters or speak directly to the musicians, temporality becomes ambiguous. When and where are the clowns, then, located? Are they in the heroic past, with the other characters, or in the present with the performers and the audience? Sugino and other dhalang, I believe, exploit such temporal ambiguities through the clowns, thus bringing the audience back into the present, to the ‘now-ness’ of the performance itself. The music played during gara-gara, too, is a curious mixture of old and new: including the ‘classics’ of gamelan repertoire (pieces associated with the court centers), regional and new compositions, and even popular music adaptations. Yet, I believe that all the pieces performed during this part of the evening reflect an orientation toward the immediate present. The old, ‘classic’ compositions are often requested by the sponsors of the performance or, in any case, are certainly well known and loved by the general audience. They are, in a word, ‘timeless’ pieces. Popular music adaptations for gamelan and new compositions obviously lend an immediacy to the performance. Regional compositions as well as the local dialect spoken by some of the clowns (most notably Bawor) not only locate the performance temporally but also spatially – in the immediate present and in the region of Banyumas.48

46

For more on the dhalang’s presence in performance, see Keeler 1987:198-9. The Javanese language is generally differentiated along two main temporal categories: before (durung) and after (wis). References to a historical, chronological, or otherwise particular past are through specific markers (such as dhèk or dhèk biyèn [at the time of, last], and so forth). 48 By making jokes about and other various references to his sponsor, his musicians, even 47

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In actual performance, the gara-gara interlude lasts about one hour. The narrative is resumed when Semar reminds his sons of their master’s plight: Arjuna lies inexplicably comatose, tended by his sad and worried wives, Srikandhi and Sumbadra. Once again becoming characters within the story, the clowns then depart for Madukara, Arjuna’s estate, to offer their services in solving the mystery of Arjuna’s sickness. Sugino then signals the musicians to play a piece while he resumes his role as narrator and introduces the first scene of the second major division (pathet sanga) in the performance. The kayon (Sugino uses two) are kept reversed until the end of this scene. Within the story, however, the duration of gara-gara (that is, the wayang world in a state of absolute chaos) is ambiguous. The dhalang’s own words suggest that gara-gara is ‘relieved’ with the arrival of Semar (see my earlier quote of Sugino’s narration). Yet, several dhalang I interviewed argued that gara-gara lasts until the basic conflict in the story is resolved since only then is the cosmic balance restored. In our story, the conflict is resolved in the third major division (pathet manyura), after a furious battle, when Bima finally acknowledges Srenggini as his son and the Pandhawas are returned to their natural state – almost at the end of the performance. Time out of time: Conclusions Both wayang and gamelan music have a structure that is both cyclical and hierarchical. Wayang is hierarchically organized around a multitude of chronotopes, recurring major and minor scenes (jejer and adegan, respectively). Though the contents of these chronotopes may differ from story to story, the structural organization remains basically intact. Every performance by Sugino, whatever his story, has the same fundamental set of chronotopes that follow an almost rigid order of occurrence (particular kinds of minor scenes follow major scenes, gara-gara follows the unresolved battle scene, and so forth).49 Similarly, gamelan music is built upon a hierarchical ordering of recurring acoustical events that define its form in time. Pieces may differ in melody and style, and the musical repertory is immense, but the structural hierarchy remains fundamentally the same. While cyclicity provides structure (in either wayang or gamelan music), coincidence lends cohesiveness to the overall performance. I have shown that wayang chronotopes are not necessarily related by causality, but by the intersection of seemingly incongruous actions, characters, or motivations. It is coincidence that brings the two kingdoms, Ngamarta and Jongparang, into

himself, the dhalang locates the performance even more specifically. 49 For more on wayang plot structure, see A.L. Becker 1979.

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direct conflict through the encounter and resultant battle between Gathotkaca and the ogre. Seen causally, such an encounter would be almost unbelievable, a result of purely random (and therefore meaningless) chance. However, wayang is in a way similar to Greek drama: the story (and indeed the entire structure and coherency of wayang) is based upon the notions of destiny and divine intervention. The karmic forces set in motion earlier brought Gathotkaca and the ogre characters together. Assuming the dhalang is greatly skilled in his dramatic presentation (sanggit) – and Sugino is known for his effective technique – the encounter is thus not only believable but its significance resonates throughout the rest of the story. Similarly, gamelan music is hierarchically organized around the recurring intersection of distinct acoustical events. I have already shown that these points of musical intersection, or coincidence, are infused with significance and meaning as they occur through time. A musical event does not usually arise out of another musical event, as it generally does in Western music. Rather, the rhythmic and melodic organization of the Javanese gamelan is anticipatory: musical events are oriented toward, rather than from, coincidence. It is not surprising, then, that the three major acts of a wayang performance are defined according to musical mode since both wayang and gamelan reflect similar principles of temporal organization. Excepting, perhaps, the specific kind of purification performance (known as ruwatan), wayang kulit is not, by itself, a ritual. Rather, it is an adjunct to ritual, celebrating what the ritual inaugurates and sacralizes: rites of passage, calendrical and seasonal events, the fulfillment of a vow, the completion of a house, and so forth. I suggested earlier that the central theme of wayang is time. Wayang kulit, I believe, is a grand meta-discourse on the structure of ritual time. One might almost think that the Javanese, several hundred years ago, came to view ritual in a way that we only recently have discovered.50 If Victor Turner had gone to Java and studied performances of wayang kulit, he would perhaps have been amazed at the way in which the Javanese have so eloquently and metaphorically created a dramatic commentary on social and sacred transition. The entire performance, like ritual, is a time out of time, carefully framed with an overture and marked internally with various musical, literary, dramatic, and dramaturgical devices. Its three divisions have an eerie similarity to Turner’s ‘phases’ of the rites of passage: they can quite easily be likened to what is now widely known as ‘separation,’ ‘liminality,’ and ‘reaggregation’ (see Turner 1969:94). In Sugino’s performances, liminality is brought about by a crisis in the 50

First identified by Van Gennep (1960) and made widely known in the works of Victor Turner (1969, 1974, 1982 and 1986) and Richard Schechner (1977, 1985, and, with Willa Appel, 1990).

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wayang story. The chronotope of crisis is described by Bakhtin (1983:248) as ‘always metaphorical and symbolic, sometimes openly but more often implicitly’. He adds that ‘time is essentially instantaneous; it is as if it has no duration and falls out of the normal course of biographical time’ (Bakhtin 1983:248).51 We have seen that the gara-gara section extends the moment of crisis, playfully dramatizing it as a timeless state of liminality and its inhabitants (in this case, the clowns) are neither here nor there; they are betwixt and between the positions assigned and arrayed by law, custom, convention, and ceremonial...their ambiguous and indeterminate attributes are expressed by a rich variety of symbols... (Turner 1969: 95).

As a meta-discourse on ritual time, wayang dramatizes the process of transformation that ritual participants undergo. It may do this in the most general terms since almost every story depicts a virtuous hero overcoming evil, desire, and temptation as he battles with ogres, demons, and so forth, dramatizing Everyman’s passage through life. Or, it may have a more direct reference to the ritual the performance celebrates. All of the dhalang I interviewed told me that, unless a sponsor made a specific request, they tried to choose stories appropriate to the celebration. Which character in the story, then, is transformed through this dramatized liminality? Certainly not the clowns. Semar, Garèng, Pétruk, and Bawor, since they are, so to speak, in a state of permanent liminality. Indeed, they never do make the transition to social reaggregation. The clowns are the way they are because their role is to represent that transitional state of betwixt and between: they are only the fanciful symbols of liminality. Interestingly, the character transformed is one who plays a minor, almost cameo, role in the story, even though the entire drama revolves around him. It is Srenggini whose claim to his birthright sets the karmic machinery in motion, culminating in a crisis that resonates through heaven and earth. And it is Srenggini who is ultimately transformed when he is finally recognized as the legitimate son of Bima. No small wonder, perhaps, that this story and others like it are performed to celebrate circumcision rituals (sunatan), the rite of passage when a Javanese boy becomes a man and assumes his proper place in the adult community. The unfolding story in wayang dramatizes a time out of time, an alternate state of existence. It has no clear past, present, or future voice. Instead, it presents what Turner (1986:101) calls the ‘subjunctive’ mode of discourse, exploring alternative states of being that might viewed as ‘what if...’ Even

51

By ‘biographical time’ Bakhtin means a time in the life of the character or characters involved in the crisis.

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the mythical past implied in the stories are subjunctive pasts: they are pasts that ‘could have been’ rather than pasts that ‘were.’52 Gara-gara penetrates even further into this subjunctive realm, breaking the frames of conventional performance and disrupting the flow of the unfolding drama. It is a selfconscious reflection of the performance, of the story, even of the audience watching the performance. The clowns – those liminal creatures – being both in the here and now of the performance and, paradoxically, also within the subjunctive past of the story, act in ways that are otherwise unacceptable in the normative contexts of wayang behavior. For them, not only time is fluid but context as well. Unconstrained by the story, they move freely about and, as A.L. Becker (1979:224) aptly puts it, ‘step among the heroes and demons and gods like wide awake men in a dream world’. Through play and humor, gara-gara ‘rehearses alternative categories and classifications’ (Miller 1988: 11) of both the world within wayang and the world without, creating startling and often grotesque intersections and juxtapositions – the stuff of dreams and metaphors.

52

This is especially true when we consider that most of the stories performed in wayang are spin-offs or ‘branch’ stories (lakon carangan) and have very little to do with the original contents of the epic Mahabharata. For detailed discussions of wayang texts, ‘trunk’ and ‘branch’ stories in wayang, see Sears 1986 and 1996.

chapter v

Sugino and his audience Guests and spectators John Pemberton (1987) points out that straight-back metal chairs have played an important role in the recent history of Javanese ritual, including those involving wayang performances. Pemberton (1987:19) examines why guests sitting in such chairs remain uninterested in performance and notes that they self-consciously display a studied detachment ‘by not watching, not listening, and not commenting on anything much, save mishaps’: This show of detachment is not particularly difficult for the guests. During ritual seasons, they are likely to be served precisely the same food, attire, and speeches several times a week. On weekends, some guests attend afternoon and evening ritual double headers. The whole business is so familiar that it assumes a kind of invisibility. (Pemberton 1987:18.)

Pemberton’s discussion of such ritual celebrations presents a important analysis of one aspect of such ritual celebrations: the performative elements of public behavior among invited guests. For the guests, ceremony presents an ordered and perhaps tediously predictable framework for affirming Javanese social hierarchy. Pemberton, however, does not discuss the other and, I believe, more important audience members: the uninvited village spectators. In the Banyumas region, celebratory rituals are generally public events with only a brief part reserved exclusively for family and invited guests.1 Thus, the invited guests that Pemberton discusses make up only a small portion of those who attend such rituals in village Java (more specifically, Banyumas). Furthermore, they are perhaps less audience members than they are active participants in the unfolding of the larger public spectacle of ritual

1

It not so much ritual time that is considered private than it is ritual space that excludes the public. Those who directly involved with the ritual are kept isolated and invited guest are allowed to watch wayang performances from inside the home of the host where the public has no access.

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celebration that frames a wayang performance. One may perhaps liken their role to the Americans who stand quietly at a football game during the playing of the ‘Star Spangled Banner’: they are participating in a larger ritual, a public display of allegiance toward an outside entity. For the football fans, it is the United States government, while for the Indonesian guests, it is their sponsor. Who, then, watches the performances? It is the uninvited spectators who come in droves from neighboring villages. The analogy here might be the American TV audience watching the same event as those standing respectfully in the bleachers during the ‘Star Spangled Banner.’ Since the uninvited masses are not participants in the ritual, they are less constrained to behave in a situationally prescribed manner. Just as we are not likely to stand at attention when we hear ‘The Star Spangled Banner’ playing before a football game we are watching on TV, so, too, are uninvited village audiences hardly inclined to assume an air of studied detachment at ritual celebrations. Indeed, village spectators are often quite rowdy, loudly commenting on the performance with jokes, cheers (or jeers), and whistles. Although the dhalang is ostensibly performing for the sponsor and invited guests, he is in actuality playing for the uninvited spectators who make up his most loyal fans – or his worst critics. Because rituals are held publicly, villagers are kept informed of them, even if they are not invited. What is important here is that, unlike the guests, the uninvited public is allowed – even expected – to attend, but not to participate. Spectators do not partake in the ritual feast (though leftover food might be handed out afterwards) nor do they sit in straight-back chairs. They buy their food, snacks, even toys for their children from the numerous vendors that are always present at such events and they stand or squat, sometimes for hours, wherever they can outside to watch the performance. In holding these celebrations, sponsors not only fulfill the various requirements of village custom but also, by providing the general village community with entertainment, they acquire considerable status and prestige through such conspicuous consumption. It is perhaps no small wonder that many sponsors measure the success of these celebrations by the number of uninvited villagers that show up to watch the performance. The size of the audience (that is, the number of uninvited spectators) throughout the performance, on the other hand, generally gives the sponsor an indication of the success of his celebration – the better the performance, the larger the audience and the later they stay. Many sponsors I spoke with were less concerned about the quality of the performance as such than the popularity of the performer among the uninvited villagers. Successful dhalang, like Sugino, recognize the importance of the uninvited spectators. They usually choose newer and lighter derivative, or ‘branch,’

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stories (lakon carangan) because these have a wider appeal than the classical ones. Tragic stories, such as those drawn from the Bratayuda (the final war in the Mahabharata), are generally considered too ‘heavy’ (berat) for the average Banyumas villager and even potentially dangerous to both the dhalang and his audience. Other classical stories are less popular in Banyumas because, I was told, villagers find them too complex and involved. Sugino does on occasion perform classical lakon, but only at the request of the sponsor. I also mentioned earlier that village audiences are more interested in how a dhalang presents his story than in the story itself, perhaps implying that a popular dhalang may perform any story he pleases and still draw a large audience. However, Sugino was always extremely aware of his audience, as the nature and timing of his jokes suggest. I suspect that he preferred the derivative stories because they are lighter in nature, allowing him considerable latitude for humor, and more formulaic, giving him greater freedom for creativity in other aspects of the performance.2 Sugino and the wayang tradition Sugino commanded a large and loyal audience wherever he performed. Some villagers I spoke with traveled many kilometers by bicycle or public transportation to watch him perform. When I asked why they liked Sugino, they all seemed to agree that they found Sugino’s performances fast paced and peppered with local humor, and the accompanying music exciting and breathtakingly virtuosic. Furthermore, Sugino’s performances were always lively events, and they enjoyed being part of a large and enthusiastic crowd. Most important, however, Sugino’s narration was easy to understand, unlike many of the more accomplished dhalang. Most of the people I spoke to recognized that Sugino was considered a village dhalang, unschooled, and without the lineage that most of the highly respected dhalang seemed to have. Some of the more knowledgeable wayang fans viewed Sugino with a certain amount of disdain and mentioned Sugito as an example of the truly accomplished dhalang. Sugito was a descendant from a long line of distinguished dhalang and could perform in Banyumas style as well as in Yogyanese and Solonese style. He had a true command of the languages involved in performance, especially the archaic poetry of the sulukan and the ultra-refined language of the court. However, Sugito’s performances were generally not as well attended as Sugino’s, and many audience members left before the end of the story.

2

For a penetrating analysis of the dhalang’s creativity vis à vis the derivative lakon, see Keeler (1987:190-6).

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Informants argued that Sugito often lapsed into rather long and pedantic monologues, moralizing over some obscure issue or another. His jokes were good, but there were too few of them. He had considerable spiritual power and charisma, yet his manner and language were often too serious, esoteric, and refined – he was difficult to understand and seemed, perhaps, too lofty for his audience. Furthermore, several villagers noted that Sugito’s musical accompaniment just wasn’t very exciting compared to Sugino’s.3 While Sugito’s musicians tended to play the same standard pieces, Sugino’s troupe performed new and interesting pieces, playing them brilliantly. Indeed, his troupe was made up of some of the most outstanding musicians in the area and many were, in fact, well-known recording artists in their own right. Rasito, the musical director, along with most members of the troupe had made numerous commercial cassette recordings of Banyumas music with major national and local recording studios. He and several other musicians composed pieces that remained popular in the area. S. Bono, the only specialist in male singing of Sugino’s troupe, also had led his own troupe that made many commercial recordings. He was, in fact, a rival of Rasito in the local cassette industry and regionally acclaimed.4 Suryati, until recently Sugino’s most revered pesindhèn, recorded with the renowned musician, composer, and dhalang, Ki Nartosabdho. Two other pesindhèn, Wahyuni and Jumirah, became well-known in the area for their vocal styles. Wahyuni’s singing in Banyumas style gamelan and calung music was immensely popular. Jumirah was known for her more refined vocal techniques that, according to local musicians, rivaled those of Solonese pesindhèn. She and Suryati both won awards for their singing in national competitions. Rasito told me that Sugino was well aware of the importance of his troupe in his rise to success. As a result, he paid his musicians much higher wages than most dhalang but expected each member to come to every performance. Suryati was the highest paid member of Sugino’s troupe, making about Rp. 120,000 (approximately $60 in 1994) for each performance. Sugino radiated a mysterious power over his audience and could hold them enthralled for the entire performance. His gritty voice became more relaxed as the evening wore on and his puppets seemed to come alive as the story developed, though he had far less skill at manipulating them than did Sugito. In a way, Sugino was the polar opposite of Sugito. While Sugito was

3

Sugito is often invited to Jakarta to perform for wealthy and avid fans of wayang. Rasito explained to me that Sugito is far more popular among the more sophisticated urbanized fans of wayang than local villagers. The serious followers of wayang, he noted, do not consider music an important factor in judging the quality of a performance. 4 For further information regarding the commercial cassette industry in Banyumas, see Sutton 1985.

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an impressive performer and a formidable presence on stage, Sugino’s stage presence could only be felt through his puppets. His performance style was spontaneous and clever, based on talent and experience rather than careful training. On the other hand, when not performing, Sugito was relaxed and unassuming while Sugino was a broodingly silent and almost unapproachable figure. Rasito told me that Sugino cultivated this off-stage personality, partially because he had always felt embarrassed by his lack of background and knowledge of the tradition – and partially because he had an uncanny sense for effect (perhaps developed when he was younger as an actor in the traditional theater kethoprak). While other dhalang, such as Sugito, could rely on their lineage and knowledge for legitimacy as performers, Sugino had to make himself larger than life, into an icon embodying all the various notions and myths surrounding the dhalang as a cultural institution. Sugino’s life is a kind of story-book success story, almost a legend. He was born in a very small village and received only grade-school education. In his youth he performed and toured around Java with a kethoprak theater troupe. During his travels, he met the renowned Ki Nartosabdho and, according to his musicians, the two journeyed to Mount Bromo in East Java where they each received a magical keprak from a sage after months of meditation and study of traditional esoteric knowledge.5 It was the magical keprak, I was told, that brought both him and Nartosabdho fame and fortune. Sugino reputedly still uses the same keprak, but only for the first few minutes of each performance, afterwards exchanging it for a conventional keprak. Once, a musician told me, Sugino briefly lost his magical keprak. He had just arrived at the home of the family sponsoring that evening’s performance when he realized to his dismay he could not find the keprak. He refused to begin his performance without it and had sent his sound crew back to the village where he performed the previous evening to search for it. Fortunately, the men did not have to travel very far since last night’s performance was only about a half hour away. When the sound men arrived at the village they immediately began searching for the keprak. After checking the entire area, they had almost despaired of finding it when they were directed to a dumping site where the locals placed the trash they had gathered in cleaning up 5

Mount Bromo is famous among the Javanese as the locus of considerable magical power and as a sacred place for meditation and ascetism, drawing pilgrims seeking esoteric knowledge. Hefner (1985:25) argues that Mt. Bromo was once associated with the Hindu god, Brahma, and the mountain’s name (Bromo or Bråmå) is in fact a Javanese variant of the god’s name. Keprak refers to the set of hanging metal plates a dhalang uses for both sound effects and musical purposes. However, I believe the musicians were referring to the small metal version of the beater used by the puppeteer to strike the metal plates. Although it is sometimes called keprak, the beater is more commonly known as cempala; it is placed between the first two toes of the dhalang’s right foot, freeing his hands to manipulate the puppets.

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after the previous night’s performance. The men finally found the keprak after sifting through piles of paper, leaves, discarded fruits, and other garbage. It fortunate they rescued it since the villagers had planned to burn the trash the very next day. The men quickly drove back to Sugino with their hard earned prize and he gave another successful performance using the magical keprak. Even Sugino’s personal tragedies have become the stuff of local legends. One story was told to me by Rasito as follows: Sugino was once married to a beautiful pesindhèn. It was his third or fourth marriage – nobody seemed be sure. She had started as his favorite singer and eventually came to be his wife. When Sugino reached the apex of his popularity and began to record with a local company [in the early 1980s], he decided to make a series of cassette recordings based on stories from the Bratayuda, rarely performed because the dangerous power they seemed to generate.6 Sugino was still relatively young at the time and it was foolish for him to take on this dangerous task. Most young dhalang would be reluctant to perform the Bratayuda since it is filled with tragedy and the tragedy may find its way back to the dhalang unless he is spiritually strong enough to avert it. Few dhalang have such spiritual power and as a result most would never dare to risk such a performance. Even the older, experienced, and more spiritually potent dhalang would be careful to provide the correct offerings and say the appropriate prayers. Sugino was proud in the flush of his recent successes and, because he wasn’t a true dhalang [that is, he did not come from a family of dhalang and thereby properly schooled in the esoteric aspects of wayang kulit], he didn’t understand the dangers involved.7 After completing three of the seven stories connected with the Bratayuda, Sugino’s wife experienced a toothache. Since Sugino was then already quite wealthy, she was able to afford to see a dentist who simply prescribed a medicine for the pain. Neither she nor her dentist realized she was developing a poisonous abscess at the root of the tooth. Several hours later the pain grew into agony, the abscess swelling her face grotesquely. She fell into a coma and died shortly afterwards when the abscess burst and released its poisons into her blood stream, which then carried them directly to her brain. Sugino was devastated with grief and stopped performing for several months while he mourned the death of his beautiful and talented

6

The Bratayuda is made up of stories of the final war between the Pandhawas and Kurawas in the epic Mahabharata. Each episode recounts the events leading to the death of a major hero or villain and to the final victory over the Kurawas by the Pandhawas. 7 I was told that, in the Yogya and Solo regions, the dhalang, usually older and possessing considerable experience, is careful to prepare himself (through meditation and prayer) before such stories. The host often sacrifices a lamb to placate malignant spirits and to avert any negative energy generated by these performances. Keeler (1987:215) notes that ‘Bratayuda lakon and other lakon that depict the violent deaths of heroes are thought highly volatile, likely to bring misfortune to sponsors who request their performance’. In Sugino’s performances, there were no sponsors since he chose these lakon for studio recordings. Thus, he put himself in jeopardy.

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wife. Since then Sugino rarely smiles, and he still mourns his wife. He has never performed any stories from the Bratayuda since.

Other stories I heard were more anecdotal and had to do with Sugino’s powerful charisma. Some stories recounted his uncanny gambling skills. Sugino was known as an avid poker player who gambled with Java’s rich and famous. Supposedly, he often won as much as he made through performance. If these stories are true, I would guess that his success as a gambler is related to his amazing skills at dissembling. In addition to his powerful presence, Sugino has the ability to hide his emotional state, making him a formidable opponent in poker. Sugino is also known for his unnaturally strong sexual attraction. Some people said his power over women emanated from his kris, the ornate dagger the dhalang wear at every performance. Their proximity made the pesindhèn especially susceptible to its influence.8 Others said that the same power driving successful dhalang such as Sugino provides them with uncanny sexual powers – they could attract any woman they wished. Still others argued that all performers, male or female, dhalang or musician, have huge sexual appetites, and they require many lovers to satisfy their abnormally great desires.9 This view is based on the notion that sexual hunger and artistic creativity grow out of the same primal urges. Thus, (artistic) production and (biological) reproduction are closely linked. It also suggests that artistic expression is seen as being closely tied to base sexual desire. Sugino’s immense popularity was not only the result of the myths that surround him and the persona he maintained off-stage. He was, above all, a good performer. As I mentioned earlier, Sugino’s presence on stage was felt only through his puppets, but it was a powerful presence, diffused through the characters he created. A dhalang may sometimes bring attention to himself through his puppets, but he must be careful not to make his personal presence too strongly felt or he can lose the power he holds over his audience. In the translated performance, the audience becomes more acquainted with Sugino through an exchange between Semar and Garèng (items 581-582) where they refer to Suwarti, the sister of Sugino’s late wife, who lives in his home. Sugino also sometimes makes inside jokes for the benefit of his musicians. For example, in his references to new shoes and their resultant blisters (items 121, 327, and 596), he is alluding to a remark he heard a musician make about blistered feet and a new pair of shoes. These occasions, however, are brief and relatively rare. Sugino is only fleet8

For more on the Javanese kris see Rassers (1959). This is a common notion that even the (male) musicians themselves hold (with a certain amount of pride, I might add). 9

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ingly apparent and his presence is felt only through the clowns. Other dhalang sometimes make their personal presence known by expressing their feelings about current local and national issues through the characters and even through the story itself. Sugito often expressed support for various governmental institutions (such as family planning, local plans for road improvements, and so forth) through some of his characters, most commonly through the clowns. I noticed, however, that audience members soon became restless and their interest in the performance rapidly declined. Even to me, the effect was sometimes quite jarring and seemed an unwelcome interruption of the story. To cite an extreme example, I once saw a performance in Banyumas of the renowned Solonese dhalang, Ki Anom Suroto, held to celebrate the harvest at a major clove plantation near Purwokerto. It happened to be close to the national elections, and campaigns for the various political parties were intense. Suroto, a devote Muslim and an active member of the ruling Golkar (Golongan Karyawan) party, interspersed his narration with transparent political propaganda and heavy-handed references to Islam. After the performance, several of the people I spoke with expressed discomfort with Suroto’s manner, not necessarily because they disagreed with the dhalang’s religious belief or political ideology. Rather, they simply felt ill at ease with his all too strongly felt personal presence. Tradition and social drama in Banyumas10 In watching local performances of shadow puppet theater (wayang kulit), particularly in Banyumas, I learned that there were always several dramas taking place simultaneously: the one being presented on the screen by the puppeteer and the various social dramas behind the scenes. One such social drama was the highly charged and continuing competition between two of the area’s leading dhalang (puppeteers): Ki Sugino Siswocarito and Ki Sugito Purbocarito – more informally named Sugino and Sugito, respectively. Sugino is renowned in the region for his flamboyant style and innovative, sometimes controversial, techniques. On the other hand, Sugito is a conservative but highly respected champion of traditional wayang kulit, known for the depth of his artistic knowledge and skills. Over the years since I first came to Banyumas, I came to realize that the competition between these two men was not only about prestige and success. It was also a struggle over fundamental principles regarding the tradition itself, what directions it might take, and who will determine its future – at least for the region of Banyumas.

10

This section is based, in part, on Lysloff 2002.

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Here, I wish to argue that Javanese audiences demonstrate aesthetic taste in wayang, not necessarily in terms of the abstract concept of tradition, but through their loyalty to a particular dhalang. One might say that style and artistry is embodied by the puppeteer, but aesthetic evaluation extends far beyond specific issues of skill and talent. Audiences view dhalang much like fans view rock artists, their loyalty an expression of their own aesthetic beliefs. Some dhalang, like Sugino and Sugito, in fact, live much like rock artists, embodying their particular artistic philosophy and values. In a word, Sugino and Sugito had become larger than life among the people of Banyumas. For the remainder of this chapter, I wish describe the competition between two dhalang with very different philosophies, politics, and backgrounds. And its purpose is to teach us that aesthetics are always imbricated with everything else that gives meaning to a given historical moment, that tradition does not necessarily follow trajectories determined through New Orderly and old scholarly narratives of immutability or invention. In Banyumas (and perhaps elsewhere in Java), it is said there are three kinds of dhalang (puppeteer): dhalang wahyu (divinely inspired puppeteers), dhalang keturunan (hereditary puppeteers), and dhalang indhang (puppeteers that have become ‘visited’ or possessed by a spirit).11 A dhalang wahyu is simply someone so smart and talented that he (rarely a she) can develop the skills of a dhalang and is at one point in his life struck by divine inspiration, becoming widely known for his abilities and talent. However, my friends have told me that such inspiration is temporary and eventually moves on to someone else. The dhalang inevitably loses his renown and remains only a technician at best. Such dhalang, my Javanese friends said, emerge out of nowhere to become briefly popular, then quickly fade into obscurity. Those that are dhalang keturunan never lose their abilities since their creativity and artistry is passed from father to male child or grandchild. Usually, a dhalang keturunan will at the very least have a kind of authority (wibawa) which provides him with considerable local respect and fame even if he never enjoys great popularity. Sugito is such a dhalang. He described himself as a dhalang jati, a ‘true’ dhalang from a long line of puppeteers and claimed he could trace his lineage back to the fall of Majapahit when his descendents fled to Banyumas to escape Islamization. He considered himself not only as a bearer of the wayang tradition but also its guardian and, resultantly was active both as a performer and a curator of the regional arts of Banyumas. Indeed, hereditary dhalang like Sugito often see themselves as advocates for the perpetuation and preservation of the wayang tradition, a responsibility they take seriously and wholeheartedly. 11

See Clara van Groenendael (1985) for more on genealogy and the transmission of knowledge in wayang kulit.

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The most interesting, however, is the dhalang indhang, puppeteers possessed by a spirit, usually that of an unidentified but powerful and charismatic dhalang of the past. Indeed, in terms of their technical artistry and knowledge of the tradition, such dhalang are normally somewhat limited. But because they are possessed by a powerful spirit, they can enjoy considerable fame and ongoing success despite insufficient skills and knowledge. The innovative and flamboyant puppeteer, Sugino, is said to be a dhalang indhang. His father was not a puppeteer but a local schoolmaster. According to the older musicians of his troupe, Sugino was a stage actor that turned to puppetry after years of performing kethoprak (Javanese folk theater). Generally, dhalang indhang only become possessed when they perform onstage and this certainly seemed to be the case with Sugino. He was known to leave for performances completely unprepared, without even deciding what lakon (story) he intended to perform. Shortly before beginning his performance, he always sat briefly among the musicians as they played the overture (talu) and burned incense while silently reciting a mantra. Only then did he finally begin to think about the performance, where it was being held, who the sponsor was, what lakon might be most appropriate, and so forth. It was also the moment when possession took place and Sugino became transformed into powerful dhalang. His sponsors, those holding the celebratory ritual event on which the wayang performance was based, sometimes felt as if they were made part of the story even though he had no prior knowledge of them. Dhalang indhang, like Sugino, change radically in their onstage persona compared to their behavior offstage. For example, Sugino hardly spoke when he was not performing. Indeed, he was always extremely shy offstage, reluctant to talk about himself or his craft. His reluctance to speak publicly, except when he performed onstage, added to the mystique that surrounded him. Whether he did this consciously or not was impossible to determine since he simply was not to be broached about such matters. He was a man of few words – so unlike the dhalang I saw performing in front of the screen. When he did talk offstage, his voice was gravelly and halting, as if speaking cost him great effort. But on stage, Sugino became transformed, his voice relaxed and, as the evening progressed, his Javanese grew increasingly articulate and eloquent, even poetic. As his voice grew more animated so did the movement of his puppets. It was as if possession took place by degrees, Sugino’s voice a kind of barometer of the extent to which he was controlled by the spirit that had entered him. In any case, I had often asked why someone like Sugino was chosen for greatness. Why not a true dhalang – one born into the tradition? Some musicians told me that he had made himself open to possession by turning away from Islam and practicing ngèlmu, a form of mysticism. This seems consistent with the idea of dhalang indhang since ngèlmu is rarely passed directly from

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father to son – but, rather, from guru to disciple.12 Several of his musicians had whispered stories of Sugino once traveling to Mount Bromo with the famous puppeteer Nartosabdho, where they both studied ngèlmu under a powerful mystic who gave them each an ancient keprak, containing the spirit that would bring them fame and fortune. One might say here that the possessed Sugino becomes a kind of conduit through which dhalang of the past could speak to the present and shape contemporary Javanese life. More importantly, history is channeled through the body of Sugino, but not the narrative of New Order Javanese culture, not tradisi. Sugino’s possession and subsequent performance, becomes what Paul Stoller (1997:63) calls ‘a sensory arena of counter memory’ (italics mine),13 that is, a site of subaltern, counter-hegemonic, and potentially subversive discourses. Stoller continues, ‘In the bodies of mediums […] spirits become replicas of ancestors, who embody the past, make contact with the present, and determine the future’ (Stoller 1997:68). Thus, Sugino’s possession provides him with the authority to take risks, to experiment, and to subvert conventions of the wayang tradition – even while that authority is located, not within himself, but in the past. Audiences always loved the way Sugino made the story come alive with his words since his puppet manipulation was never all that impressive, even at its best. It was through his storytelling that he shined. In his possessed state, when the spirit of puppetry spoke clearly through his body and voice, he disappeared into the performance. He became simply perfect in his timing: delivering punch lines to his jokes, setting off a dramatic event, depicting a decisive blow in a battle, all executed at precisely at the right moment and in a perfect way, seemingly effortless and natural. There were other technical strategies Sugino mastered in his apparent state of possession. For example, when characters were engaged in heated dialogues, arguments, or simple bantering, he sometimes made one interrupt the other in rapid succession. This was done so skillfully, so realistically, that it was easy to forget only one man was giving voice to those characters. Sugino also made effective use of his musical accompaniment and encouraged his gamelan musicians to experiment and push the boundaries of convention. They shamelessly appropriated musical ideas from other successful troupes and his accompaniment came to be an exquisite hodgepodge of Solonese, Yogyanese, East

12

See Keeler 1987:81-2. Keeler, however, does point out that sometimes a father may confer certain kinds of ngèlmu upon his son when he is on his deathbed. The logic is that a father might undermine his own authority and power by passing such esoteric knowledge on to his son, upsetting the traditional father-son relationship. Thus, a dying father may no longer be concerned with his role as authority figure. 13 The idea of ‘counter memory’ is drawn from Lipsitz (1990).

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Javanese, Banyumas, even popular and folk musics. More recently, Sugino began to incorporate electronic technology and Western instrumentation in his performances, drawing ideas from experimentalists in the Solo and Yogya regions. He now routinely uses colored spotlights, even a laser light, to heighten mood and create special effects. He also added a trap drum set (with one of his sons playing) and an electronic keyboard, mainly for sound effects (what the musicians call ‘musik,’ referring to the instrument’s Western origins). While wayang experts might dismiss such devices as superficial kitsch, his audiences loved them and he continued to be successful after almost thirty years of performing. Sugino paid his musicians well, more than other dhalang, but he demanded their complete loyalty and utmost efforts. And he fired those that missed his performances more than on rare occasions. He expected them to stay alert all night and follow his storytelling, adding calls and laughter at appropriate moments. Sugino kept his troupe energetic and youthful by easing out older musicians, replacing them if they played difficult instruments with young ambitious performers, and paying them lower wages as they moved to less important instruments. Thus, performing in Sugino’s troupe was itself a prestigious yet competitive, even cutthroat, enterprise that gave rise to complex intrigues and bitter feuds among local musicians. Behind every successful dhalang, it seems, are several attractive women. Sugino was always careful to find the most talented as well as most beautiful pesindhèn (female singers) in the area, putting as many as seven or eight on the stage next to him. Some say that the pesindhèn represent the more ancient female side of the power behind the dhalang’s presence, but in reality they perpetuate myths about the puppeteer’s sexual charisma – both in concrete and metaphorical terms. And he exploited this to the utmost. For example, he would always arrive for a performance shortly before it was to start, chauffeured in a late model sedan with two or three of his most attractive young pesindhèn at his side. For local villagers he was a celebrity, exuding an aura of glamour, power, and wealth. His hair was somewhat long and he often wore colorful shirts, open at the chest, sometimes with a silk scarf loosely wrapped around his neck. The thousands of spectators milling about the performance would stare in awe at him and his entourage of women, moving back respectfully to clear a space for him as he made his way from his car to the home of his sponsors. He never spoke or acknowledged his audience, not even with a smile, remaining as always a silent brooding presence. Sugito, on the other hand, was deeply committed to preserving and maintaining the Banyumas tradition of wayang. This does not mean, necessarily, that he was an ultra conservative and against change. On the contrary, he too was innovative in his technique and artistry as well as the music that accompanied him when he performed. What remained different was that he

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wanted to develop a unified Banyumas tradition of wayang kulit based on regional conventions of practice without transgressing rules of plot structure, characterization, and so forth. For him, innovation could not be iconoclastic but had to follow the norms and conventions of earlier practices – he believed that wayang should change incrementally or it would cease to be a tradition. Sugito saw himself as the local curator of Banyumas wayang practice, his purpose to educate young dhalang and the people of Banyumas in the aesthetics and deeper meanings of the wayang tradition. For him, Sugino was an opportunist, someone that simply exploited both the tradition and the uneducated masses for personal gain. As a dhalang, he saw himself as a community and spiritual leader, whose job was to remind the people of Banyumas who they were, to teach them their cultural heritage. Unlike Sugino, Sugito had much to say about many things onstage but offstage he was always relaxed and unassuming. My interviews with him were filled with the lofty rhetoric of political ideology, culture, tradition, Javanese philosophy. He was what one might call an old school nationalist, openly nostalgic for that brief moment of Indonesian democracy during the euphoric early days of the Sukarno government. He openly followed the religious practice of kejawèn, a syncretic mix of indigenous animism, Hindu-Buddhism, and Islam. He once expressed his concern that the Javanese were losing their culture as a result of the encroachment of orthodox Islamic beliefs – they were, he commented, becoming more Arabic than Javanese. Unlike Sugino, Sugito was himself an outstanding practicing musician and enjoyed performing various instruments of the gamelan. He was also highly literate, reading and writing about the history of wayang. And he was meticulous in all of his work, carefully writing out the plot structure for the stories he created or the text and music of his own sulukan (the mood songs that dhalang sing during performance). He had a commanding voice both in song and in speech, and his mastery of formal and literary Javanese was impressive. Like Sugino, Sugito was formidable when he performed, his presence was felt through his words and in the strength of his convictions. Yet this is also where the two puppeteers differed: Sugito’s presence was often manifested through his own powerful personality and he often expressed his political and philosophical views during performance. Sugino, on the other hand, made his presence felt indirectly – that is, only through his puppets and his persona as narrator. In the 1970s, both Sugito and Sugino were extremely popular. The two puppeteers were, more or less, head to head in competition to be the most renowned dhalang in the region. It was a time of serious rivalry, both men locked in a struggle that went far beyond the stage – yet curiously their lives intersected through one woman they both loved and eventually abandoned. She was known as Laras Atun and she was herself an intelligent and char-

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ismatic personality, later becoming a successful accountant for the local government. At the time, she was a beautiful and gifted young pesindhèn that came to join Sugino’s troupe when he first began to enjoy some popularity in the early 1970s. She was naturally drawn to the enigmatic Sugino, eventually becoming his second wife. Sugino’s first wife, Nasiem, remained at home raising their two children while Laras Atun performed on stage with him. This led to considerable strife at the home of Sugino, a result of jealousy and mutual hatred between the two women. Eventually, Sugino remained faithful to his first wife and divorced Laras Atun within a year of their marriage. Meanwhile, Sugito was already twice married (consecutively, not concurrently) with two children, both female – one of them later becoming a pesindhèn in his own troupe. He then eventually divorced his second wife and was alone. In the early 1970s, Sugito’s popularity seemed to decline and he went to seek the advice of an elder mystic. The elder told him, cryptically, that his popularity would rise again only if he could successfully win the hand of Dèwi Sumbadra (the name of a wayang character). Sugito turned his attention to Laras Atun when he realized that she was the person meant by the elder. Knowing that she was estranged but still technically Sugino’s wife, Sugito saw himself as ‘winning’ her hand, thus defeating his opponent Sugino as well as fulfilling the mystic’s conditions for his success. Indeed, once he married her and built her a house, he experienced his golden era, his time of greatest popularity. Laras Atun gave Sugito eight children. He made a pledge to her that, if she gave him a male child, he would remain with her forever. And she did – their first child was a male, named Sigit who later was to become a well known dhalang in his own right. All the other children were female. One was named Mayangsari who later became a major pop singer. Nevertheless, Sugito divorced Laras Atun after nine years of marriage. Apparently, they began to argue as Laras Atun attempted to take over the finances of the troupe. She was, at this time, already an accountant for the local government and had given up her career as a pesindhèn. After they divorced, Sugito’s popularity waned as Sugino’s soared. Thus, the pivotal person in the careers of both puppeteers was Laras Atun, talented pesindhèn, successful accountant, and thoroughly modern Indonesian woman. She was also the great irony in the lives of both puppeteers and the subject of wry humor about the effect she had on each of them – Sugino’s popularity grew once he divorced her while Sugito remained popular only as long as he was married to her. When Sugito left Laras Atun, not only did his popularity decline but he also lost his set of gamelan instruments in the divorce settlement. While Sugito might have felt that Laras Atun was instrumental in his decline as a puppeteer, the reality was that the two dhalang were funda-

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mentally different in their professional outlook. One was a populist while the other an elitist. The populist Sugino believed that being a dhalang was a career, a profession that he could make lucrative if he approached it as entertainment rather than education. He realized that at any given performance of wayang only about ten percent of the audience really know anything about the tradition. For the other ninety percent, wayang was simply a spectator event. Thus, he aimed his performances at those unschooled in wayang, that ninety percent of the audience that came to a performance for the festivities, that only sought to be entertained. The other ten percent perhaps might be outraged at the liberties he took with plot structure, chronology, and so forth, but they could not deny his success as a dhalang. Finally, by addressing his performances to those that knew little about wayang, one might argue that he taught those ninety percent of the audience to love it, at least as a celebratory and festive event. Sugito, on the other hand, retained his authority as a powerful dhalang offstage even as his popularity onstage declined. He was, after all, a dhalang keturunan – a natural puppeteer whose skills and knowledge were passed on to him through his father’s lineage. And he continued to maintain a relatively small but loyal following of admirers, mostly serious fans of wayang – that ten percent of the public that Sugino disregarded. As an elitist, Sugito believed that his responsibility was to provide his audiences with knowledge about life’s mysteries, to teach them about good and evil. He found these lessons in the traditional stories handed down to him through his father, from his own ancestors. He realized that while his audiences might be small, and while he may no longer be a widely popular dhalang, his job was to teach his audience the lessons of their elders and ancestors. Local innovation and the tradition Despite Sugito’s sharp criticisms of Sugino’s lack of training, his eclecticism, and irresponsibility toward the tradition, I could not help but admire Sugino’s innovative imagination and the musical skills of his troupe. Ward Keeler (1987:196) notes that the dhalang’s role is conservative, that he ‘does not alter the tradition in any way: his performance leaves no trace’. I think that we can understand from this perspective why Sugino was under attack by other dhalang. He not only performed pieces and styles from other areas but also introduced innovative ideas to Banyumas-style wayang kulit that have profoundly affected the tradition as a whole (and I wonder, then, whether the legendary Dhalang Menganti didn’t also come under similar criticism in his day). The eclecticism and originality of Sugino’s performance is not limited to

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the gamelan music that accompanies him but also includes his sulukan, as my notes in the translation have shown. I do not need to go into detail here, since I have already pointed out the specific relations of Sugino’s sulukan to those from Banyumas and other areas of Central Java.14 In a single performance, Sugino borrows sulukan from Banyumas, Solo, and Yogya. His most typical borrowings, however, are from the Solo area. Taram also borrows heavily from the Solo area, but while Sugino often radically alters his borrowings, Taram performs them much as they are heard in their place of origin. Sugito, when he is performing Banyumas-style wayang, does not use sulukan from other areas. That is, he does not mix regional styles. In a recording I studied, almost all the sulukan he performed could be found in Sena Wangi (1983). Those that I could not find were either lesser known, but still Banyumas, sulukan or they were composed by the dhalang. Sometimes he used texts not found in the Sena Wangi book but these, he said, were alternate texts that were given to him by his father. What disturbed Sugito is not only that Sugino borrowed heavily from Solo and Yogya, but that he applied his own melodies to texts drawn from other sulukan. For example, his Sulukan Pathet Sanga Wantah (laras sléndro; see after item 864) is made up of the text to the Solonese Sulukan Pathet Nem Ageng (laras sléndro) with a vocal melody composed by Sugino himself. Sugito told me that, in fact, many of the sulukan Sugino performs are usually created this way. It wasn’t innovation that rankled Sugito, but the mixing of styles and what he saw as irresponsible handling of traditional texts and music. A dhalang’s duty, he argued, is to preserve the tradition as well as please his audience. Nonetheless, Sugino’s sulukan are effective, and I noticed that a few were even imitated by other, younger dhalang in the area. Several of his ada-ada, in particular, are unusual and innovative compositions that surprise and delight his audiences. Ada-ada Girisa (after item 140) is a tried and true crowd-pleaser.15 It is like any other ada-ada except it includes a metered section in which the sarons play with a loud flourish, called sabetan balungan kréasi (literally, ‘creative or innovative balungan gesture’). The signal to begin is initiated by the gendèr and the sabetan is played startlingly loud, never ceasing to amuse audiences. Sugino has similar treatments for some of his other ada-ada, this one is the most dramatic. This kind of treatment, I believe, was inspired by a similar technique used in many traditional Banyumas pathetan and sendhon. These sulukan contain a metered section (usually near the end, but sometimes quite long) that sounds much like a jineman (a 14

See Lysloff 1990. Sugino used this sulukan in every performance I watched and it never failed to inspire cheers and whistles from his audience. 15

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piece made up of irregular gong cycles played without the loud-style instruments). For example, the one I heard most often was Sulukan Pathet Tlutur (laras sléndro pathet sanga), a traditional Banyumas with such a metered section.16 This jineman-like treatment is also found in the Solo and Yogya areas, but not as extensively as it is in Banyumas. Sugino, I believe, cleverly applied this idea to ada-ada but made the metered section loud and vigorous (performed on loud-style instruments of the gamelan). The impact of this idea on the tradition was significant and Rasito mentioned that several of Sugino’s ada-ada are now used regularly by other dhalang. Locating the performance Like other dhalang, Sugino always particularizes his performances – but he does this far more extensively and creatively than other performers. He grounds his performances in the present, even while keeping the stories he narrates within an indeterminate and mythical past. However, this is not a feature of only Sugino’s style but of most of the dhalang I have watched perform in Banyumas and other parts of Central Java (including Yogya and Solo). My point here is that particularizing the performance is not unique to Banyumas dhalang. To make a story compelling to his audience, any dhalang will make references to the region he performs – especially if that region is the dhalang’s homeland. What is of interest to this study is not just that the fact that a dhalang locates the performance but how he (or, sometimes, she) does this. In other words, one of the most fascinating features of Sugino’s performances is what he does to make a story relevant to the people of Banyumas. Srikandhi Mbarang Lènggèr has been, and continues to be, performed by many dhalang throughout the Banyumas region. Like other wayang stories, it takes place in a legendary past – sometime during the Pandhawa brothers’ exile from Ngastina and shortly before the Bratayuda, their final war with the Kurawas – but the reference to lènggèr firmly locates the performance in present-day Banyumas.17 Another element that localizes the story is the character Srenggini whose relation to Wrekudara brings about the crisis that culminates in this story. Srenggini is unknown outside the Banyumas area and he arose out of a lakon (Srenggini Takon Bapa) that precedes Srikandhi Mbarang Lènggèr. We learn a little bit of Srenggini’s story through Gatotkaca in items 16

Although it is not found in Sena Wangi (1983), I heard it performed by both Sugito and Sugino. 17 For more on lènggèr, see Lysloff 2002.

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494-496, Semar and Pétruk in items 742-743, and again through Kresna in items 870-874. The story of Srenggini is uniquely Banyumas and, like our translated story, it is widely known and popular throughout the area. Both Srenggini Takon Bapa and Srikandhi Mbarang Lènggèr, I was told, were created in Banyumas sometime in the 1940s. This is not to say, however, that the story itself is uniquely Banyumas. Indeed, I was told that similar versions of this story has been performed in other parts of Java. Many other wayang stories I saw performed were not necessarily as clearly associated with Banyumas. Indeed, most of them were stories performed throughout Central Java. In these, Banyumas associations were commonly made through some of the characters, especially the clowns, with local culture emerging in their manner or language or even in the things they said. This technique is also found in our translated story: the clowns Togog and Sarawita speak to one another in a pronounced Banyumas dialect (items 420486).18 During their conversation, Sugino even introduces a place reference, mentioning a busy highway outside Purwokerto (item 466). In another conversation, this time between Banowati and Arjuna (Janaka), Sugino alludes to the main bus terminal in Purwokerto (item 1049). In all of his performances, Sugino often introduced references to local performance traditions: lènggèr has already been mentioned above. Another obvious reference is to èbèg, a local variety of hobby-horse trance-dance (see item 712).19 Trance dance, admittedly, is found throughout Java, but the term èbèg is uniquely Banyumas. Furthermore, the accompanying piece Élingéling (see under item 854) also establishes Banyumas associations. Other local dhalang also introduce èbèg in their performances, and it is usually Bawor that performs as a trance dancer.20 Sugino’s version of Éling-éling (see Appendix 4, p. 491) is in èbèg style, characterized by a unique colotomic (gong-kenong-kempul) structure, an elaborating saron part based upon an otherwise unrealized balungan, and alternating solo and chorus parts (in call and response style) sung by pesindhèn. Occasionally references are made to dhalang jemblung (discussed in my note to item 824). Rasito told me that Pétruk’s mention of playing gamelan instruments vocally in item 824 was an intentional reference to the dhalang jemblung tradition.21 However, I wonder how many of Sugino’s fans understood the association since the tradition is 18

What’s more, Sarawita’s speech changes at one point into a youthful slang of the Banyumas dialect when he talks about his experiences as a bus driver (see items 462-484). 19 See also my commentary in the text transcription and translation (footnoted under item 712). 20 It never fails to amuse local audiences when Bawor goes into ‘trance’, his arms rigidly extended as he dances to the music. Note also Bawor’s words in item 864, made to imitate (or perhaps parody) an incantation. 21 For more on dhalang jemblung, see Lysloff 1990a.

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rarely performed these days and is probably not as well known as it was in previous generations. Nevertheless, what is important here is that the references to local performance traditions reflect a conscious effort by the dhalang to make the story relevant to Banyumas audiences. Conclusions Ward Keeler (1987) notes that the performance of wayang emphasizes its own ephemerality. Like Western theater, wayang is shaped by convention – but it is not scripted. Keeler (1987:265) astutely points out that ‘if we take a performance of wayang as a kind of action undertaken by its players and sponsors, then we can look for its meaning in the effects it has after it takes place.’ Perhaps one difference between the two dhalang is indeed located in the effects of the performance. Keeler (1987:199) points out that the dhalang’s authority lies in his ability to dissemble his presence, in his invisibility: The dhalang, in a word, disappears: into the refractions of his voice in antawacana [voice characterization], into the constraints of the tradition as a whole, and into the white ground of the screen on which the shadow of his hands should never fall. For all that, of course, the impression of his potency is enormous. In fact, I believe it is precisely the impression the dhalang makes of a hidden, unlocatable, but all-encompassing authority that is so compelling to Javanese. Following Keeler’s logic, I believe that Sugito sometimes compromised his authority by making his personal presence too conspicuous and by departing all too obviously from the story in his performances. He drew too much attention toward himself as an individual, becoming, in effect, locatable and thereby less compelling. To me, Sugito seemed far more interesting as an artist; he had a very obvious passion for his art, he was extremely intelligent, with vast knowledge about the wayang tradition, and he engaged with Indonesian political issues. The very traits that made him, in my view, a person of depth and breadth, also made him too much of a human being to his audience Sugino, on the other hand, as a spiritually possessed dhalang, spoke only through his characters or his persona as narrator. He clearly avoided political and religious issues in his performances,22 never departing from the story (except where appropriate, as in the comic interlude). In general, 22

Indeed, Sugino seemed to be following local prescriptions in wayang performance. The Banyumas book on the art of wayang, Sena Wangi (1983:34) clearly states that a dhalang should not drop out of character (medal saking pakeliran) by referring to political parties (nyinggungnyinggung bab partai).

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Sugino always maintained a rather detached attitude toward worldly affairs and this probably contributed toward his powerful but impersonal presence in performance.23 Indeed, Sugino himself remained twice removed during performances: it was always the spirit possessing him that became the invisible presence manipulating the puppets and giving them voice, singing the sulukan, and cueing the gamelan. For this reason, perhaps Sugino was able to sustain his success, even in Indonesia’s recent troubled times.

23

However, one of the few times I saw Sugino smile was in 1986 when he learned that his arch-rival, Sudjono, was banned from performing until after the national elections. At a performance for the opposition party, the Indonesian Democratic Party (PDI, Partai Demokrasi Indonesia), Sudjono reportedly expressed solidarity through one of his characters. The local government, I heard, stated that, in the interest of security and public safety, wayang kulit could not be allowed to be a forum for political expression.

chapter vi

Music and intra-cultural difference ­Music and the ethnography of difference My purpose in this book has been to provide a case study of musical difference within a larger cultural setting – what might be called intra-cultural musical difference.1 My transcription and translation of ‘Srikandhi Dances Lènggèr’ is intended to demonstrate how regional culture is articulated through performance. While Banyumas artists cannot entirely escape the hegemony of Javanese court culture, they do manage to express or infer distinctly local values and norms in performance – what I described earlier as particularizing Javanese cultural universals. In the opening chapter, I also set out to problematize the concepts of ‘culture’ and ‘tradition’. My point is that the ethnographer, too, is implicated in perpetuating the understanding of culture (and, by extension, tradition) as a kind of lofty monolithic concept, referring to a vaguely defined configuration of social phenomena that is as ancient as it is abstract, as unchanging as it is mysterious, and as conveniently essentializing as it is frustratingly slippery. In Indonesia, social upheaval, the vagaries of economic and political change, modernization, and so forth, all thus simply become thin layers over the fixed authenticity of a traditional Javanese culture. The phrase, ‘traditional Javanese culture’ obfuscates as much as it communicates: it tells us very little about the grinding realities that Javanese face in their everyday lives, but it does idealize an ancient, and unchanging, geographically determined repertoire of customs, practices, beliefs, norms, ways of knowing, attitudes, etc. that is amazingly and stubbornly consistent among millions of people with diverse life experiences. In the past, any deviation from the norms of the exemplary practices of the Javanese courts has been generally ignored or simply viewed as inconsequential. An important exception is R. Anderson Sutton’s study of traditions (note the plural form) of gamelan music in Java (Sutton 1991). Aside from Jaap Kunst’s monumental survey (1973), Sutton’s work is the only comparative

1

My thanks to Deborah Wong for her suggestions in this chapter.

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examination of the diversity of gamelan musics among the Javanese speaking people of Central and East Java.2 Sutton uses the term tradition instead of style as a way of undermining the hierarchal relationship that the latter term implies (between, for example, village and court center). He is also careful to use the term ‘cultural’ to indicate regional differences among the Javanese speaking people, and he recognizes that these differences are far more than stylistic. Nevertheless, it is clear that the matter of difference poses a particular challenge in a study such as his: It might seem untimely to be studying regional differences within a single major ethno-linguistic group when the young nation of Indonesia faces important challenges in the diversity between such groups. Yet, as will be seen in the succeeding chapters, the heterogeneity of the Javanese is an important aspect of Indonesia’s diversity and one that is increasingly recognized by cultural policy at the national and provincial level. Despite the reference by some Javanese writers to different ‘ethnic areas’ within Java, I use the term ‘ethnic’ here as it is defined by Barth (1969), who would differentiate Madurese from Javanese, but not speakers of different dialects of Javanese from another. The differences we encounter between the people of Banyumas, in western Central Java, and the people of Lumajang in East Java may be substantial, but we will refer to these as ‘cultural’ or ‘sub-cultural’, rather than ethnic. (Sutton 1991:1; my italics.)

In this concluding chapter, I want to examine the culture concept in greater detail. In the passages that follow I argue that the culture concept may mask ethnic diversity within larger groups, that it can obscure intra-cultural difference. Furthermore, aside from notable exceptions (such as Sutton’s study), I contend that area-oriented music scholarship too often focuses on ancient, monolithic traditions that represent large groups without regard for intracultural difference. Conventional research attenuates the struggles and conflicts of musical communities within larger social groups, overlooking emergent practices and forms that should not be simply dismissed as a stylistic variants or local interpretations of a broader, all encompassing tradition. Yet, musical difference in Java reflects, and produces, a deeper cultural diversity that is regionally based. Music and identity in Java Music is a particularly useful for the study of intra-cultural difference because it is both normative and transgressive. That is, on one hand, music can be 2

Note that island Java is home to many other socio-linguistic groups, including (but not limited to) the Sundanese people mostly residing in West Java and the Maduranese in East Java and the neighboring island of Madura.

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extremely conventional – even conservative – in the way it often reinforces the status quo. An example would be Western classical music; viewed as aesthetically transcendent and studied mainly in terms of craft, art music tends to be seen as apolitical even while, in reality, it reflects particular values and ideals (in this case, those of the Euro-American elite). On the other hand, music can be subversive, challenging the hegemony of elite culture. Examples of subversive elements can be found throughout the history of rock and roll, rap, blues, as well as other popular and vernacular music genres. Thus, while it may be important to understand exemplary forms of expressive culture, I believe that it is equally important to study alternative, counter, and sub-cultures. In 1986, while I was conducting my PhD research in Banyumas, I often drove to Solo and visited the campus of Sekolah Tinggi Seni Indonesia (STSI, National Institute of Higher Learning in the [Javanese] Arts). More than once, when I mentioned my research on the gamelan music of Banyumas, I was asked why I wasn’t studying karawitan Jawa (the traditional gamelan music of Java) – as if Banyumas was not a part of Central Java and therefore its musical traditions were unworthy of serious research. Perhaps worse, the remark may suggest that Banyumas musical traditions are somehow less ‘authentic’ than those of the Solo and Yogya court centers. In any case, I was perplexed by this exclusionary view and asked myself why would the gamelan music of Banyumas not be considered to be a part of karawitan Jawa? As Martin Stokes (1994:5) points out, ‘music is socially meaningful not entirely but largely because it provides means by which people recognize identities and places, and the boundaries which separate them.’ He goes on to argue that: Music is intensely involved in the propagation of dominant classifications, and has been a tool in the hands of new states in the developing world, or rather, of those classes which the highest stake in the new social formations. This control is principally enacted through state control or influence over universities, conservatories and archives, and is disseminated through its media systems. (Stokes 1994:10.)

Stokes’ point is particularly useful for considering the configuration of music, social prestige, and the Indonesian tertiary school of the arts, STSI. Even early on, STSI had already developed a canonical approach to the study of traditional Javanese music (karawitan), dance (tarian), and shadow theater (wayang kulit). By the 1970s, under the directorship of Humardani, when it was still called ASKI (Akademi Seni Karawitan Indonesia, National Academy of Traditional Musical Arts), the school officially promoted the court arts – as opposed to the village arts – and adopted the Western music conservatory as its model.3 In taking on the conservatory model, ASKI also embraced the 3

For more on the history of Indonesian schools of the performing arts, see Sumarsam (1995,

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Western cultural ideology of ‘classical’ arts, applied here to the performing arts originating in Javanese palace (kraton) culture. (Note that, for many years, ASKI was even located within the walls of the Solonese palace.) However, the notion of ‘classical’ did not simply imply a hierarchy of traditional culture with palace music at the apex. Instead, gamelan music that did not emulate the palace tradition was categorically excluded. Humardani saw the performing arts of the palace as kesenian tradisi (traditional arts) and village forms as kesenian rakyat (folk arts). In other words, the village arts were not, in his view, traditional. Humardani made this distinction because he believed that only seni tradisi had historical continuity, developing organically out of its origins in an ancient past and becoming more refined and sophisticated through time. On the other hand, the folk arts were, in Humardani’s view, spontaneous and informal, brought into existence by simple rural people for their immediate needs, without the regulation of a patronage system and a critical audience: A characteristic of seni tradisi, because it developed constantly over the past hundreds of years, is intricate detailed form. Its content is in harmony with the wishes/ interests of people in areas of authority/power. There is reflection on (a) view of life and so forth. But seni rakyat grows directly from the people (rakyat). As the common people know each other intimately, so is the form of this art like that. It is intimate and communicative. In seni rakyat every villager enjoys the artistic product. This is not the case with city people; a work of art has those who like it and those who do not like it. (‘Sehari dengan S.D. Humardani; Makin gesit dan berisi’, in: Zaman 26 [20-26 March 1983]:26-9, translated by Jennifer Lindsay [1985:41-2]).

Regional traditions of gamelan music (as well as wayang kulit) pose a thorny problem for the traditional/folk (tradisi/rakyat) opposition because gamelan (as well as wayang kulit) is, by definition, related to palace culture. One might say, following Humardani’s logic, that Banyumas gamelan music is a folkification of the traditional. (Following this same logic, calung music – because its repertoire overlaps with that of the Banyumas gamelan – would have a far more distant relationship.) Perhaps because of such a relation, a few classes in regional forms of gamelan have recently been added to the curriculum at STSI, and students can even learn to play Banyumas calung music. Nevertheless, the Western conservatory model – along with the ideology of classical arts – still holds today. In an interview several years ago, Hastanto, the director at the time, believed that ASKI (it became STSI shortly after the interview) had taken on the role of ‘successor’ to the kraton in protecting and managing the performing arts traditions of Java (Devereaux 1989:12). However, it becomes

especially Chapter Three), Jennifer Lindsay (1985) and Becker (1980).

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clear that his idea of ‘tradition’ refers only to those performing arts originating in the palace and not the village: [...] so that later we can develop and actually promote the majesty and grandeur of the kraton [the Solonese palace], so that the arts don’t end up a museum piece, so that the arts still have relationship with their source, and so that people in the twenty-fifth century will see where they came from. So, it is for our own development, as well as out of respect for the kraton, that we continue to develop the tradition. The kraton still might be relegated to a museum, I don’t know, but it forms the wellspring of a tradition that can’t be surpassed. (Devereaux 1989:14.)

While Hastanto recognized the influence of the West and even Chinese patronage on the court arts, he made no mention of regional performance practices. It is important to note here that regional practices are not viewed with hostility, but tolerated with benign neglect. As a result of the dichotomy of traditional versus folk, regional forms of gamelan and wayang have been relegated into relative obscurity, almost invisibility. With such a narrow definition of ‘tradition,’ then, the gamelan music of Banyumas is easily considered marginal. Since it has always existed outside of court patronage, it will perhaps remain forever outside of the canonical karawitan Jawa – a folksy provincial art form: kesenian Banyumasan. Except for a several recent studies such as Sutton (1991), most Western ethnomusicological research in Java tends to reinforce the notion of a monolithic culture that is organic, ancient, and unchanging, and most have focused on the court gamelan traditions of Yogya and Solo. Few have explicitly acknowledged the importance of regional diversity, of individual artists whose idiosyncratic ideas have had a broad impact on other artists, and of performers that self-consciously draw from local elements. This is why my intention throughout this study has been to focus on the creative activities of individual artists and their impact on the music of Banyumas. One particularly important composer was the late Ki Nartosabdho. Nartosabdho was born in 1925 in a village between Yogyakarta and Surakarta. For most of his life, however, he lived in the northern port city of Semarang where he was musical director and drummer of a wayang wong (musical theater) troupe for twenty-five years. In 1970 he left the troupe and formed his own group and began a successful career as a dhalang and composer. More important, he began to create his own music as well as adapt traditional compositions of different regions of Java, even Sunda and Bali. He also drew from Indonesian and Western popular music. As far as I know, Nartosabdho never even visited the region of Banyumas, but his influence on local musicians was profound. According to the oldest member of Sugino’s troupe, the

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late Partamihardja (known affectionately as Pak Parta), Nartosabdho became interested in the gamelan music of Banyumas in 1974 when he heard Parta’s troupe perform in Jakarta. He invited Parta (who was the drummer and musical director at the time) along with several Banyumas pesindhèn (female singers) to perform with his own group based in Semarang. He eventually hired one pesindhèn, Suryati, on a more or less permanent basis to perform with his troupe. Through her he began to incorporate Banyumas music in his shadow puppet performances. He also began to record several concert pieces of his own adaptations of Banyumas traditional music, adding the adjective Banyumasan (in Banyumas style) to their titles. He remained active as a musician, composer, recording artist, and puppeteer until his death in 1985. Local musicians told me that Nartosabdho confused the bonang playing techniques of Banyumas because he learned them from Suryati who, they claim, didn’t understand gamelan music – being a only a pesindhèn (and a woman). Sutton (1991:222), however, states that Nartosabdho purposely made some musical adjustments (while maintaining the unique Banyumas sound) to conform to more mainstream Central Javanese bonang playing techniques. In a conversation we had in 1987, Suryati assured me that she knew all about Banyumas style bonang playing technique but Nartosabdho had never once consulted with her. She believed that he confused the bonang parts because he only heard Banyumas music from recordings and never really watched Banyumas bonang players. This is why, according to her, Nartosabdho got the pitches right but the technique wrong. Until Nartosabdho’s rise to fame, most accomplished musicians in Banyumas had emulated Solonese gamelan performance techniques, particularly from the 1960s (or even earlier) into the early 1970s. Some of the pieces in the wayang repertoire of Banyumas also suggest that Yogyanese court music may have been an even earlier influence. For example, the main melodies (balungan) of several Banyumas Ayak-Ayakan and Srepegan are similar to Yogyanese equivalents, a few almost identical. The more recent changes (from the late 1970s), however, have been the result of a self-conscious awareness of the court centers and other regions of Java. I want to argue here that the music of Banyumas is now being reinvented,4 not to emulate the court centers but rather to sound uniquely Banyumas-like. In fact, the most powerful outside influence during this period has been the music composed by the late Ki Nartosabdho – not the court traditions of Solo and Yogya.5 Indeed, I believe 4

The notion of ‘reinvented traditions’ is of course inspired by Hobsbawm and Ranger (1983). 5 Many Banyumas musicians are able to play both in the Banyumas and the Solonese (and, to a lesser degree, Yogyanese) styles but they regard these as distinct traditions, each with its own repertoire of compositions. Nartosabdho’s more lively and innovative music, on the other hand,

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that Nartosabdho was a particularly important influence because his musical and theatrical performances often undermined the cultural hegemony of the court centers.6 Nartosabdho’s influence is still felt in Banyumas. His new music had stimulated considerable activity among local composers who drew from their own tradition to reinvent old compositions or create new ones. Many of his pieces were not only based on older existing Banyumas compositions, but also from a perceived local style of music-making. The elements considered most typically Banyumas, such as the energetic and complex drumming, the unique interlocking octave-style bonang playing, the lively and wide-ranged vocal parts (including the Banyumas-style senggakan and alok), and the humorous and sometimes reflexive texts in local dialect have all, according to Rasito, became far more pronounced in the past several decades in an effort to distinguish Banyumas style music from that of the court centers.7 What Nartosabdho did, perhaps, was ‘de-center’ the court traditions of karawitan (gamelan music) and wayang kulit and, at the same time, legitimize regional style performing arts. Furthermore, his innovative creations have motivated a generation of musicians and puppeteers to explore new ideas and techniques. Puppeteers like Sugino and musicians like Rasito openly acknowledge that they were inspired and influenced by Nartosabdho. On being Javanese in Banyumas People in Banyumas may very well identify themselves as Javanese when asked about their ethnicity (and describe themselves as Indonesians in terms of nationality) but they spend an equal amount of time and effort, as I will describe, demonstrating how unique they are in relation to their fellow Javanese living east of Banyumas (not to mention the Sundanese living to the west). According to local origin myths, Banyumas has cultural ties to both ethnic Java (East and Central Java) and ethnic Sunda (West Java), although its historical and political links have mainly been with Central Java. Their relative geographical isolation has made the inhabitants of Banyumas see

has had a direct impact on local performance practice. 6 For more on Nartosabdho and his music, see Sutton 1991:219-33. Sutton provides a fascinating discussion of how Nartosabdho’s compositions usually only evoke regional sensibilities rather than represent ‘authentic’ styles. However, as Sutton points out (1991: 224), his regionally inspired music is what brought Banyumas to the attention of the rest of Java. 7 After listening to older recordings (mainly from the early 1970’s), I would agree. By the mid 1980s Sutton (1986) had noted that a distinctly Banyumas music was in the process of crystallization, of becoming more clearly defined against surrounding traditions.

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themselves as a distinct people, yet their language and recent history ties them to ethnic Java. They are what might be called a ‘marginal’ people, and they are aware of their marginality. On the one hand, they see themselves as ugly and crude provincials, the inferior Javanese. On the other hand, they also see themselves as ethnically distinct, possessing unique features in their collective character, in their values, in their lingual dialect, and in their performance traditions. During my research in Banyumas, I looked for this uniqueness in the history of Banyumas performing arts – for evidence of musical continuity through the centuries. However, I realized that this approach, so suitable for the court gamelan traditions, was not so appropriate in Banyumas. There are precious few historical sources, written either by the Javanese or the Dutch, on the performing arts of Banyumas. I could find no sound recordings of musical performances from before the early 1970s to compare against present practices. My efforts to find a truly enduring Banyumas music, a tradition I could trace back over several generations, proved to be far more complex than I had thought. I did not have a strong sense of the past looming over the present, as I did during previous research in Yogyakarta in 1979-1980. The Yogyanese musicians I had studied under often referred to a glorious past, constantly comparing it to the present. More important, they seemed to be consciously preserving and perpetuating the musical ideals that were handed down to them. And always, there was the brooding presence of the old kraton (palace) that acted as a constant reminder of an almost mythical past. There are no palaces in Banyumas, however, no memorials to an ancient kingdom.8 The courts of Solo and Yogya were too far away for Banyumas inhabitants to identify with them. Ricklefs (1974) describes how Banyumas belonged historically to all – and thus, none – of the prevailing powers that surrounded the region: the Yogyanese and Solonese to the east, and even the Dutch colonials to the west. In the middle of the eighteenth century, Java was partitioned between the Dutch and the Susuhunan of Surakarta on one side and Mangkubumi, Sultan of Yogyakarta, on the other. The Susuhunan controlled territory to the west – including Banyumas – while Mangkubumi controlled the east. The Dutch effectively controlled the parts of the north coast regions (having ‘leased’ them from the Susuhunan) and were seen as legitimate heirs to the kingdom of Pajajaran (the medieval dynasty that ruled West Java), a realm viewed in any case as foreign, being non-Javanese (see further Ricklefs 1974:374-6). Banyumas remained in a somewhat ambiguous position since it was part of

8

No ancient carvings or structures have been found in the Banyumas region. The closest temples are located in the Dieng Plateau, a mountain range northeast of the Banyumas region.

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the territory belonging to the Susuhunan but, at the same time, had political ties to Mangkubumi through its regent (bupati) Yudanegara IV whose father was Danureja I, chief administrator (adipati) for Mangkubumi (Ricklefs 1974:230; Wirjaatmadja and Poerwasoepradja 1932:15-6). Interestingly, both of these political ties continued into the twentieth century: Danureja took Mangkubumi’s sister as his second wife, their descendents served as chief administrators of the Yogyakarta palace while the descendents of his son (by his first wife) carried on as the regents of Banyumas. Some of the more interesting indigenous sources of Javanese history and legends are in themselves important modes for expressing cultural difference. These are known as babad, generally translated as ‘chronicles’, and they usually describe (some in verse while others in prose form) the founding of a kingdom. Although it was never an autonomous kingdom, Banyumas has its own founding legends. According to several local babad, the Banyumas people originated through the marriage of an exiled prince known as Radèn Kamandaka, from the ancient kingdom of Pajajaran in West Java, with a young noblewoman – known as Dèwi Ciptarasa – a descendent of the Majapahit kingdom in East Java. The two then settled squarely in the periphery of both realms to found their own people.9 This story is widely known throughout the Banyumas region, and the local government had even memorialized several sites where Radèn Kamandaka had supposedly been buried, or where he fought a major battle, meditated, etc. Inhabitants point to this legend as evidence of their long-standing uniqueness. Many have told me with considerable pride that their ancestors lived in the Banyumas region when Solo and Yogya were little more than villages, before the arrival of the Dutch, and even before the powerful kingdom of Mataram. Yet, this legend seemed to me more a statement about regional identity than it was testimony of Banyumas history. It even suggested an emergent ethnicity, especially when considered alongside other factors, such as lingual dialect, food (local dishes), humor, even physical and emotion features (being less refined in appearance and more socially honest) – all referenced by Banyumas residents. Thus, it struck me that a specifically local narrative, one not directly linked to the broader story of an ancient and glorious Javanese imperial past, drives the collective identity of Banyumas inhabitants. Are the people of Banyumas a distinct ethnic group? They are and they are not. Classical theories of ethnicity might suggest they are not different enough (since, for example, they intermarry with the Javanese of Solo and Yogya), but more recent ideas indicate that ethnicity may depend more on how a group sees itself in relation

9

For more on Banyumas legends, see Knebel (translator) 1900 and 1901; Wirjaatmadja and Poerwasoepradja 1932; Oemarmadi and Koesnadi Poerbosewojo 1964; Brotodiredjo dan Ngatidjo Darmosuwondo 1969; Roeslan Doyowarsito 1975; Adisarwono 1986.

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to groups around it.10 Perhaps one of the most useful and compelling discussions of collective identity, reflecting more recent poststructuralist approaches to ethnicity, is found in an essay by James Clifford (1988:277-346) about a lawsuit in the mid 1970s filed by the Mashpee, an American Indian tribe in Massachusetts, against the U.S. government. Although the lawsuit concerned land ownership, the trial itself hinged upon the question of whether the Mashpee were, in fact, still a ‘real’ Indian tribe. That is, instead of examining the legality of past legislative acts that expropriated land from the Mashpee people, the trail focused on the question of their collective identity. The logic for the defense was that, if the Mashpee could not establish their continuous existence as a people, then they had no case since they could not claim injury. After all, they no longer possessed a distinct language, many of them had intermarried with other groups, they had no clear tribal government or distinct religion – indeed, they did not even ‘look’ like American Indians.11 In the end, the Mashpee people lost their case against the U.S. government, largely because the concept of culture is biased toward organic models of cultural cohesiveness and historical continuity. Yet, as Clifford argues (1988: 338), the collective identity of groups like the Mashpee survive because particular cultural elements change, disappear, or are reinvented: Groups negotiating their identity in contexts of domination and exchange persist, patch themselves together in ways different from a living organism. A community, unlike a body, can lose a central ‘organ’ and not die. All the critical elements of identity are in specific conditions replaceable: language, land, blood, leadership, religion. Recognized, viable tribes exist in which any one or even most of these elements are missing, replaced, or largely transformed. [...] Moreover, the culture idea, tied as it is to assumptions about natural growth and life, does not tolerate radical breaks in historical continuity. [...] Metaphors for continuity and ‘survival’ do not account for complex historical processes of appropriation, compromise, subversion, masking, invention, and revival.

Thus, the culture concept has tended to mask, more than reveal, diversity and change within large social groups. As Renato Rosaldo (1993:209) points out, ‘in emphasizing social hierarchies and self-enclosed cultures, the discipline 10

I am following Abner Cohen’s reasoning (1981:317-8) that ethnicity has to do with contact between social groups: Ethnicity is always two-dimensional, consisting of both a cultural and organizational factor. When we talk of ethnic groups, we are by definition talking about groups in interaction with other groups within a common political system. See also the theories discussed in Reminick (1983). 11 Another strategy used by the defense during the trial was distinguishing between ‘tribe’ and ‘ethnic group’. As Clifford points out (1988:321), this placed the Mashpee in a double bind. According to anthropological literature, tribes are bound to the land. To be a tribe, they must own land and to sue for land they had to prove they were a tribe. However, the Mashpee had no land throughout much of their recent history because it was taken from them.

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[of anthropology] encouraged ethnographers to study the crystalline patterns of a whole culture, and not the blurred zones in between.’ We need, then, more critical ethnographic work that accounts for the interaction between and within groups, especially when one group is dominated by another. We need to examine those ‘blurred zones,’ where communities seem to be subsumed under or assimilated by larger groups – especially those groups that resist assimilation. When dominated groups are rendered monolithic, homogeneous, and historically continuous, they are more readily and easily available for analysis and categorization – usually in ways that benefit the dominant group. This may be why multiculturalism in the U.S. is all too often trivialized with institutionalized Disney-esque celebrations of exotic and ancient tradition. Lisa Lowe (1996:65), in writing about diversity within Asian America, argues that ‘culture’ is a socially constructed and historically contingent process, not just a product of hereditary origin, but – echoing James Clifford – she also cautions that [...] the making of Asian American culture may be a much less stable process than unmediated vertical transmission of culture from one generation to another. The making of Asian American culture includes practices that are partly inherited, partly modified, as well as partly invented; Asian American culture also includes the practices that emerge in relation to the dominant representations that deny or subordinate Asian and Asian American cultures as ‘other’.

It is perhaps in Ethnic Studies and Asian American Studies that the culture concept is most critically examined. Here, culture becomes something more that the organic whole that defines a whole people, it becomes a site for alternative and oppositional identities in the face of normative and hegemonic forces. As Lowe (1996:22) points out, it is in the cultural, not the political, terrain where difference is most dramatically articulated: Because culture is the contemporary repository of memory, of history, it is through culture, rather than government, that alternative forms of subjectivity, collectivity, and public life are imagined. This is not to argue that cultural struggle can ever be the exclusive site for practice; it is rather to argue that if the state suppresses dissent by governing subjects through rights, citizenship, and political representation, it is only through culture that we conceive and enact new subjects and practices in antagonism to the regulatory locus of the citizen-subject, by way of culture that can question those modes of government.

How are alternative subjectivities expressed in Banyumas? Perhaps through the self conscious and reflexive statement I often heard made by locals: ‘Inyong [wong] Banyumas Asli!’ (Banyumas dialect) or ‘Saya orang Banyumas Asli!’ (Indonesian language). In English, the statement means ‘I am an authentic Banyumas [person]!’ In one wayang performance I watched, Bawor

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announced to his brothers that he carries the letters ‘B.A.’ after his name. After some confusion they learn that Bawor was not referring to a college degree but to his cultural status as Banyumas Asli (Authentic Banyumas). Bawor is, in fact, a local phenomenon: there is no such character outside of the Banyumas region.12 The term Banyumas asli is also heard in reference to local foods, dialect, humor, stories and myths, rituals and other religious practices, and even local gamelan music. As opposed to the term Banyumasan (Banyumas style), Banyumas asli reflects a different relationship between local culture and the traditional court centers of Java. The former, perhaps, acknowledges palace culture as the standard, with Banyumas gamelan music relegated to a regional style. The latter, on the other hand, suggests Banyumas is its own cultural center and reflects another kind of subjectivity that is autonomous, that is local. Returning to the culture concept, I believe that commonly held understandings of culture situate the Banyumas people in troubling ways that point more to the power of the Indonesian nation-state and its grand project of assimilation than to some kind of idealized ‘authentic’ Javanese culture. In the late 1980s, when I began to develop the idea of emergent ethnicity among the people of Banyumas, I presented my findings at an annual meeting of the Society for Ethnomusicology. The paper was not enthusiastically received, perhaps because I argued that the people of Banyumas were different than the (other) Javanese. In other words, I took the point too far. My paper implied a rigid dichotomy of Javanese/non-Javanese identity: the people of Banyumas were either Javanese or they were not. I had failed to show that they are indeed both Javanese and non-Javanese (perhaps Sundanese), or somewhere in between. On the one hand, Javanese cultural universals and institutions – such as shadow theater, and gamelan music – are profoundly important to the people of Banyumas. They identify with these universals as ethnic Javanese. On the other hand, what meanings they find within such universals and how these universals are locally expressed suggest that they also view themselves collectively in terms of those characteristics unique to the Banyumas region. However, this is not just a matter of regional difference although geographical location, too, is certainly important. Even Banyumas people living in Jakarta maintain their ties to one another and to the region of their birth. Puppeteers such as Sugito often performed in Jakarta (located hundreds of miles away) for the Banyumas community living there. Furthermore, the people of Banyumas also see themselves as following a different historical trajectory than, say, the Javanese of Yogya or Solo. The story of Radèn Kamandaka

12

In the Solo and Yogya regions a comparable character is known as Bagong.

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and Dèwi Ciptarasa, mentioned earlier, refers to a past significantly different than that of the (other) Javanese. It suggests that the people of Banyumas today are not entirely Javanese (nor are they Sundanese) in origin. In other words, by pointing to a local past, people in Banyumas believe that they are ethnically distinct, that their cultural heritage is unique, and that their future may be different than the people of other regions in Java. Therefore, it is not surprising that local artists openly resist the cultural hegemony of the Javanese court centers. The music and theater of Banyumas, and certainly Sugino’s performance, do indeed reflect a regional concern for uniqueness, for local difference. My many discussions with local musicians revealed that the distinctive features of Banyumas music were a source of pride, a way to show their Banyumasness through their performing arts. It is perhaps no surprise, then, that Sugino stressed music so much in his performances, far more than any other dhalang in the region. I believe that Sugino’s eclecticism and innovative techniques accentuate rather than blur local characteristics – because Banyumas consistently remains at the center of his performance and the music of other regions provided stylistic contrast to local music. Both Sugino and Sugito, as well as the other dhalang of Banyumas, have been deeply concerned with defining their performance style against that of the court centers. While Sugito attempted to establish a unified local tradition of wayang performance, Sugino simply created his own unique style that features Banyumas stylistic elements. On the one hand, I believe that Sugito had always been concerned with the legitimization of Banyumas wayang kulit: the acceptance of Banyumas style performance practice into the ‘canon’ of the Javanese wayang tradition. Sugino, on the other hand, emulated Nartosabdho and discarded the canon altogether. He concerned himself more with local acceptance, winning his legitimacy through popular acclaim rather than by the approval of his peers. Thus, despite their widely different approaches, both dhalang (and indeed all dhalang of the area) have been expressing a regional desire to maintain uniqueness against the broad background of Javanese culture.

PART 2

TRANSLATION

Synopsis Introduction As I wrote in Chapter II, Javanese wayang kulit is not about character development but about the conflict that arises out of actions (and interactions) of characters. Indeed, Alan Feinstein (1986:xxxiv) notes that character motive is an important feature that distinguishes the Western narrative from Javanese story-telling. That is, Western audiences must know why a character does what she or he does, what forces drive her, and how her actions might change her as well as other characters. This need is clearly bound up in Western understandings of the relationship between cause and effect. We learn that characters do things out of revenge, lust, compassion, love, hate, and so forth. Character motivation, then, gets at the very core of the Western narrative. Javanese narratives, on the other hand, are not driven by the motivation of characters, but by the consequences of character actions. This is not to say that motives are not explained in Javanese (or Indonesian) narratives. They often are – but usually in passing, suggesting that motive is not central to the narrative. Indeed, in a particular wayang story, the motives behind a character’s actions – if they are explained at all – may differ from one dhalang to another. As Feinstein (1986:xxxiv) points out, sanggit (the dhalang’s creative license) can even include motive. Thus, the story of Srikandhi Mbarang Lènggèr starts out with consequences: the kingdom of Ngamarta, home of the Pandhawa brothers, has been cursed. One hero lies in a coma, while the others have been transformed into fantastic creatures. How those consequences came about remain a mystery until later in the story. We eventually learn that one of the Pandhawa brothers has angered the gods because of his behavior. Bima refused to recognize and accept the boy Srenggini as his son, despite overwhelming evidence on his behalf. Instead, he beat Srenggini and banished him from Ngamarta at the advice of court priest of Ngastina, Durna. This is what brought about the curse that struck Ngamarta, but these events took place before the beginning of this story. Indeed, Srenggini has only a minor role in the unfolding narrative. We never learn exactly the motive behind Bima’s actions, why he

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followed the advice of Durna despite his own initial fondness for the boy. We also never really learn why Durna advised Bima to banish Srenggini. Perhaps Javanese audiences already know that Bima always follows the advice of his erstwhile teacher without question. Perhaps they also know that the sly Durna will always do anything possible to help the Kurawas, the sworn enemies of the Pandhawas. While there is little elaboration on the motives behind the characters, a great deal of narration is given to the consequences of their actions. Divine retribution is eventually visited upon Durna in an almost excruciatingly realistic scene in which he is literally horse-whipped by a young prince that later turns out to be a god. I believe that Javanese wayang stories are each self-contained and, at the same time, episodic. Like chapters in a much larger narrative, they are contextualized through their (sometimes tenuous) connections to the Mahabharata, yet each story seems to end happily ever after. At the conclusion of Srinkandhi Mbarang Lènggèr, we might imagine Durna becoming a better person as a result of the lessons he learned in this story but, of course, we know that he continues to be conniving and even sometimes evil because we see him in other wayang stories. We might also imagine that Bima has learned not to trust Durna but we know that in other stories he still blindly follows the advice of his former teacher. In a sense, all wayang characters are archetypes – the sly and conniving high priest (Durna), the naïve hero warrior (Bima), the plucky and resourceful wife (Srikandhi), the fat wise clown (Semar), and so on. Even the character that local audiences most often identify with, the beloved Bawor, is hardly developed in the Western dramatic sense. He is an archetypal wise guy, an extremely clever and resourceful clown. If we recognize the purpose of wayang, we can make sense of all of this. Wayang, despite all the humor and violence is still all about teaching morality (and teaching morality can indeed be entertaining). Wayang characters provide audiences with models of behavior, but not the psychological rationale behind their deeds. The story shows them acts of good and evil, without explicating what constitutes good or evil. Finally, and most important, wayang teaches audiences the consequences of actions – that our deeds touch the lives of those around us. Srikandhi dances Lènggèr With the opening audience scene (jejer) the story begins in Ngastina (sometimes also called Astina), the kingdom under the illegitimate rule of the Kurawa clan (ninety-nine brothers and one sister, headed by the eldest brother, King Suyudana or Duryadana). The rightful rulers of Ngastina are their cousins, the Pandhawas, made up of five brothers: Puntadéwa (or

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Yudhistira), Wrekudara (or Bima), Arjuna (or Janaka), and the twins, Nakula and Sadéwa. In the chronology of the Mahabharata epic, this was the time the Pandhawas built and ruled over the neighboring kingdom of Ngamarta (sometimes written Amarta). The story opens up with King Suyudana holding court in his opulent palace. He is recognized as a good king except for one major character flaw: his ambition and lust for power. At his side are King Basukarna, Durna, Baladéwa, and Sangkuni. Basukarna is the king of Ngawangga Tengah and half-brother to the Pandhawas. Abandoned by his mother (who gave birth to three of the Pandhawas) when he was a baby, he grew up among Kurawas. Basukarna is known to be somewhat arrogant and quick to anger. Durna is the royal priest of Ngastina and the spiritual teacher of the Kurawas and Pandhawas. Throughout Central Java, he is regarded as a rather unscrupulous and despicable character that is greedy for power and prestige. Nevertheless, he is loved and respected (and always forgiven for his misdeeds) by both families for his immense esoteric knowledge. Baladéwa is the king of Mandura and allied with the Kurawas against the Pandhawas. Like Basukarna, he is known as a rather hot headed but is otherwise honest and highly regarded, albeit misled in his loyalties. Finally, Sangkuni is Chief Counselor to King Suyudana and, like Durna, he is sly and morally corrupt. His rivalry with Durna is often a source of considerable humor in many wayang stories. As Suyudana holds court, he mentions his uneasiness over recent events at the Kingdom of Ngamarta. The kingdom of their arch-enemies, the Pandhawa brothers, seems to have fallen under a curse. The palace of Ngamarta has become overgrown with jungle. As soon as the thick vegetation is cut down it quickly grows back as dense as before. King Puntadéwa, eldest of the five brothers, has turned into an ogre of gigantic proportions; the powerful warrior Bima has taken on the form of a jewel-eyed elephant; and the twins Nakula and Sadéwa have become a pair of forest deer. Finally, the handsome young prince, Arjuna, has fallen into a deep and deathlike coma. The royal priest, Durna, steps up and brags that this was all his doing, the result of his superior priestly powers. He tells Suyudana that, since the great war (the Bratayuda) between the Pandhawa and Kurawa clans is inevitable, his one goal has been to weaken the Pandhawa brothers. He adds that the king need not worry about these matters since he has them well in hand. Sangkuni, of course, is openly skeptical. Suddenly they are interrupted by a great and powerful ogre pushing his way into the audience hall, sweeping soldiers and palace guards aside effortlessly as he makes his way to stand in front of the king. The ogre introduces himself as Tenung Turanggamaya, Counselor to King Ajijaya Diningrum of the nation of Jongparang. He then proceeds, in the usual crude manner of ogres, to insult the king and his guests. In ogre-like fashion, he then abruptly

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announces his business in Ngastina: to obtain Suyudana’s wife, Banowati, for his king’s son, Prince Jatikusuma who has fallen in love with her and intends to marry her. He states that, furthermore, he also wants the priest, Durna, to become the horse that draws the royal wedding carriage for Prince Jatikusuma. Angered by the ogre’s lack of manners and outrageous plans, Basukarna invites the ogre outside to the palace square. King Suyudana commands Baladéwa and the other Kurawa brothers to follow Basukarna and tear the ogre to shreds. His heart troubled, Suyudana retires to the inner chambers of his palace. The story continues with Basukarna proceeding outside with Tenung Turanggamaya and the others following close behind. Furious with the ogre for insulting the king and his guests, Basukarna challenges Turanggamaya to battle. However, they learn that Turanggamaya has great supernatural powers. His eyes generate intense heat to scorch his enemies and Basukarna is thus forced to retreat. Armed with his magical spear, Kyai Rajamanggala, Baladéwa then steps in to engage with the ogre but it has no power over the ogre and he, too, is defeated. Tenung Turanggamaya, who has the ability to fly, swoops over the heads of the Kurawas and snatches Durna as he stands watching the battle. After capturing the priest, Turanggamaya flies to the women’s quarters of Ngastina palace and abducts Banowati. With his two captives, the ogre departs for the kingdom of Jongparang, leaving the ninetynine Kurawas in confused panic. The story continues with a scene in a foreign kingdom (adegan sabrangan). The kingdom is Jongparang and its ruler, Ajijaya Diningrum, is holding court. Despite being an ogre with incredible supernatural powers, he is a wise and virtuous king. He is troubled by his son’s interest in Queen Banowati of Ngastina. Since he dotes on his only child, the king had given in to Jatikusuma’s request to have Queen Banowati and Priest Durna brought to Jongparang. They are now awaiting the king’s counselor, Tenung Turanggamaya, to return with his captives. The king tries one last time to talk his son out of his obsession with Queen Banowati but to no avail. The young man, called Jatikusuma, is hopelessly in love with the woman who is, incidentally, twice his age. They are interrupted by the arrival of Turanggamaya. The ogre has succeeded in his mission and presents his two captives to King Ajijaya Diningrum. After warning his son that Ngastina will soon retaliate for this affront, the king resigns himself to his son’s whims and retires to his private chambers. Having obtained his father’s reluctant blessings, Jatikusuma orders Durna to be placed in a stable and fed horse fodder. He then introduces himself to Banowati and begins trying to win her heart. Outraged, she rejects his advances. Expressing her contempt for the prince, Banowati scornfully informs Jatikusuma that she, in fact, already has a young lover: the

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warrior prince Arjuna. However, Jatikusuma calmly tells her that, if she does not marry him, he will simply slit her throat. At this news, Banowati quickly changes tactics. Believing Arjuna will never be overpowered and that, indeed, he will soon rescue her, Banowati comes up with a clever plan to buy herself time. She tells the young prince that she will marry him – but only on the condition that he has Arjuna brought to Jongparang and beheaded, supposedly so that she would not feel guilty for her infidelity to Arjuna in marrying Jatikusuma. She proposes a rather grisly scenario: Arjuna is to be beheaded and his head used as a stepping stool for the queen to climb into bed with her young husband, Jatikusuma. The young prince is heartened at this request and orders the other counselor, Tenung Turanggadhèsthi, to leave immediately to find Arjuna and bring him to Jongparang. This is followed by a brief comical scene (banyolan) outside of the palace. Turanggadhèsthi commands the clowns Togog and Sarawita to assist him in finding Madukara, Arjuna’s estate within the kingdom of Ngamarta. The two clowns both claim to know their way there but for different reasons. Togog claims he knows the way because he is one of the most ancient creatures alive. Sarawita, on the other hand, claims he knows the exact route because he was once a bus driver, referring to local Banyumas routes. After some further chatting and general tomfoolery, the two clowns depart, traveling on foot while the powerful ogre flies above them. The next scene is important to the narrative structure of Javanese shadow theater and is found in most performances of wayang. It can be described as an unresolved battle (perang gagal) and constitutes the opening skirmishes between two parties (usually kingdoms) in conflict. In the Kingdom of Ngamarta, the eldest of Bima’s sons, Gatotkaca, is patrolling the realm. Being semi divine, the intrepid young warrior has the ability to fly and is thus able to guard the kingdom while also keeping an eye out for the boy, Srenggini. Srenggini is a relatively minor character yet the story revolves around him. He was unjustly beaten by Bima, at Priest Durna’s advice, for claiming to be his son (a result of one of Bima’s many military expeditions and romantic conquests in other far-off lands). After being beaten, Srenggini apparently fled to parts unknown. Later, however, the Pandhawas had come to realize that perhaps Srenggini had told the truth and the curse on the kingdom of Ngamarta was a consequence of Bima’s rash behavior. As he flies high in the sky, Gatotkaca spots Turanggadhèsthi and, after confronting him, uses trickery to determine the ogre’s evil intentions. After learning from the ogre his plan to abduct Arjuna, Gatotkaca attacks Turanggadhèsthi and the two engage in a fierce battle. However, this ogre, too, has supernatural powers. His magical breath blows Gatotkaca away, far up into the sky, trapping him in a storm cloud. Turanggadhèsthi then continues his journey to Madukara, Arjuna’s estate.

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The narrative now stops for the main comic interlude to alleviate the upheaval (gara-gara) in the world of wayang. The dhalang describes a cosmos now in a state of utter turmoil. Oceans boil and mountains heave. Darkness covers the earth. In the midst of this despair and chaos, Semar and his three sons, Garèng, Pétruk, and Bawor, appear, comforting the audience with song and comic relief. Afterwards, the clown servants return to the story by departing for Madukara to visit their master, the unconscious Arjuna. In the second act of the wayang performance (known as pathet sanga), the clowns have just arrived at Madukara. They express their sympathies to the two princesses, Sumbadra and Srikandhi, over the illness that has overtaken their mutual husband. Although Arjuna is in a coma and unable to eat or drink, he remains otherwise healthy and his body does not grow thinner and waste away. They realize that whatever the affliction might be, it seems to be magical. The clowns, however, despite knowing many spells and charms, are unable to help. Even Bawor, who is a trance dancer, is unable to help (referring to the local trance dance tradition known as èbèg). At the request of Srikandhi, the clowns stay to help watch over the unconscious Arjuna. They all ponder the strange calamity that has fallen over Ngamarta. Along with Arjuna’s illness, King Puntadéwa has taken on the aspect of a huge ogre, Bima (Wrekudara) has turned into a diamond eyed elephant, and the twins, Nakula-Sadéwa have been transformed into a pair of forest deer. Finally, the two tired princesses decide to go off and sleep for a while. The clown servants are entrusted to stand guard over Arjuna. Meanwhile, the envoy from Jongparang has arrived. Counselor Tenung Turanggadhèsthi hovers outside the palace of Arjuna and casts a spell of sleep upon the clowns. When they are all unconscious, he enters and snatches the comatose prince. He places Arjuna in his magical pocket, withdraws his spell of sleep, and prepares to leave. The clowns all wake up and notice that Arjuna is no longer lying on his pallet. In the uproar, the princesses awaken and enter, sensing immediately that something is seriously wrong. They all realize that Arjuna was kidnapped. From the sky, the ogre calls down to them and brags about his success in abducting the prince. Since the ogre is flying and already moving away, the clowns are unable to do anything to help. Srikandhi obtains Arjuna’s magical arrow, Kyai Pasopati, and shoots it at the ogre. However, the ogre is so powerful that the arrow has no effect and, unable to find its mark, simply descends back to the earth toward a neighboring forest. The ogre continues his journey back to Jongparang. In the next scene, taking place in the middle of the forest (called adegan wana), a tiger lies sleeping on a large flat rock. The arrow Pasopati, as it arcs back down to the earth, strikes the tiger squarely in the neck. Instead of dying,

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however, the tiger suddenly changes into the deity, Narada (also known as Sang Hyang Kanéka Putra). Srikandhi and the clown-servants arrive in time to witness this amazing transformation and they recognize the god. Narada explains that the arrow released him from a curse by an elder god: he was cast from the abode of the gods to live in the jungle as a tiger. He had made an oath that whoever released him from this curse would be granted one wish. He then tells Srikandhi that she can help save her husband by dressing up as an itinerant dancing girl (referring to the local tradition called lènggèr) and entering the kingdom of Jongparang without being recognized. After giving Srikandhi the clothes of a dancer, Narada disappears to return to the abode of the gods. Srikandhi and the clowns make plans to become a lènggèr troupe. Semar’s sons will accompany the dancing Srikandhi by performing various gamelan instruments vocally (referring to a local tradition known as dhalang jemblung). They then practice with the Banyumas gamelan compositions, ‘Ricik-ricik’ and ‘Éling-éling.’ After this, they set off and began traveling from village to village as wandering performers. In the palace of Ngamarta, Puntadéwa and Kresna ponder the disaster that has struck Ngamarta and the Pandhawa brothers. Kresna begins to recall something that happened sometime before. He remembers that there was a young boy called Srenggini who came to Ngamarta claiming to be the child of Bima and the goddess Déwi Rekatawati (daughter of the elder god, Sang Hyang Rekatatama). When he arrived, Bima was ill with a strange sickness and Srenggini was able to cure him, proving that he had divine powers and could very well be his son. However, Priest Durna came to Ngamarta and told Bima that Srenggini was not his son and advised him to beat the boy for his insolent claims. The faithful Bima believed his beloved teacher and attacked the boy. Srenggini then disappeared, never to be seen again. It was shortly after this that the strange curse fell on Ngamarta. The two kings realized that Bima should never have listened to the priest and that, by rejecting and beating the boy, he brought about the wrath of the gods, setting in motion the disasters that now plagued the Pandhawas. Suddenly, a distraught Semar arrives with the shocking news that Arjuna has been abducted. After determining the name and origins of the abductor from the weeping Semar, they all depart for Jongparang. Kresna and Puntadéwa fly while the others follow on foot. As he flies through the air behind Puntadéwa, Kresna notices Gatotkaca trapped in a storm cloud. He releases the young prince who reports of his encounter with Turanggadhèsthi. Knowing they have no time to waste, they continue on to Jongparang. Meanwhile, having arrived in Jongparang City after traveling throughout the country as an itinerant lènggèr troupe, Srikandhi and her friends make plans to walk to the palace. Like some of gamelan musicians in Sugino’s

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troupe, Garèng grouses about being paid so little for their performances. He is implying that Pétruk, who divvies up their pay, might be skimming some off the top. Inside the palace of Jongparang, Jatikusuma is visiting Durna in the horse stables where he is being held prisoner. Jatikusuma interrogates the priest about the many evil acts he carried out against the Pandhawa brothers. Whenever the priest lies, the prince beats him with a stick. Durna admits that he knew Srenggini was in fact Bima’s son. Jatikusuma then orders Turanggamaya to return the priest to his stall. Suddenly, Tenung Turanggadhèsthi arrives with Arjuna in his magical pocket. Jatikusuma orders the unconscious prince brought before Banowati where he will behead him in the Queen’s presence. They depart for the women’s quarters of the palace. The story continues with act three (pathet manyura) in a scene taking place in the women’s quarters of Jongparang palace. Banowati refuses to eat, drink, or wear the clothes given her by Jatikusuma. The lady in waiting, Biyung, has grown fond of the queen and tries to convince her to dine and change her clothes. Biyung sings ‘Sarung Jagung’ to comfort Banowati but the queen remains melancholic. She confides in her servant, telling her that she learned Arjuna is seriously ill and that it is her desperate hope to have him healed when he is brought to Jongparang. Jatikusuma arrives with Turanggadhèsthi announcing that he has come to fulfill Banowati’s request. When she learns that they have Arjuna, the queen persuades Jatikusuma to first have Arjuna healed, arguing that she needs to ask his forgiveness for sins she committed against him in the past. Jatikusuma assures her that his father the king has the power to heal Arjuna. They then go to see King Ajijaya Diningrum. The supernaturally powerful ruler agrees to heal Arjuna. He is quite positive that can to bring Arjuna out of his illness because, in fact, he himself caused the warrior prince to fall sick. Using his magical charm, ‘gem of the floating eye’, the king brings Arjuna back to health. To Banowati’s delight, Arjuna returns to consciousness. Jatikusuma grows alarmed at Banowati’s obvious tenderness toward Arjuna. Turanggadhèsthi offers to kill Arjuna himself. Meanwhile, posing as street performers, Srikandhi and the clowns have arrived behind the palace of Jongparang. They find that the palace wall is too high for them to climb. Pétruk suggests that Srikandhi climb onto his shoulders. Srikandhi is thus able to peer into the women’s quarters. To her great distress she sees Arjuna and Banowati embracing. Srikandhi calls out in outrage and jealousy. Banowati protests that she should be thanked since she was instrumental in bringing Arjuna back to health. At the same time, the jealous Jatikusuma challenges Arjuna to battle. However, Arjuna retreats and allows Bima (who has just arrived) to fight the

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young suitor. Suddenly, the curse that has made him a jewel-eyed elephant is broken and he returns to his natural form. Similarly, Jatikusuma suddenly takes the form of Rekatawati, Bima’s erstwhile lover. She reminds him of their child and chides him for beating Srenggini. Also, still in the form of a large ogre, Puntadéwa attacks Ajijaya Diningrum, demanding to know the whereabouts of his brother, Arjuna. While they are battling, Puntadéwa returns to his natural shape and Ajijaya Diningrum becomes the elder god, Sang Hyang Rekatatama. The god explains to Puntadéwa that he was incarnated as a mortal to punish the Pandhawas and Durna for the beating of his grandchild, Srenggini. Seeing his king turn into a god, Tenung Turanggadhèsthi rebels and attacks Puntadéwa. One of the twin brothers, Nakula, still in the form of forest deer leaps up and bites the ogre in the neck. Suddenly, Nakula is returned to his natural form and the ogre is transformed into Antaséna, another son of Bima. Antaséna explains that, when his younger brother, Srenggini, fled Bima’s wrath, he followed him back to Jongparang where he fell under a magical spell. Elsewhere in the palace, Tenung Turanggamaya runs amuck. The other Pandhawa twin, Sadéwa, leaps up and bites him in the neck. Suddenly, Sadéwa is returned to his original form and the ogre is transformed into the long lost Srenggini. When Srenggini learns that his opponent is his uncle, he embraces him in joy. Finally, Kresna commands Bima to destroy an army of ogres rebelling because their king turned out to be a god. This is an obligatory set piece in which Bima tears open the chest of his ogre enemies and afterwards dances in victory. In the closing scene, with all the major characters assembled on the screen, Semar speaks to Bima on Durna’s behalf. Durna has begged for forgiveness and wishes to return to Ngamarta with the others. Always the loyal disciple, Bima allows his former teacher to accompany them on their journey home. Semar then speaks to Kresna who decides that they will camp outside of Jongparang city and begin their trip at sunset. English summary (by audio track) Track 1 Overture (called patalon or talu), a medley of gamelan music beginning with a large spacious piece and moving progressively to smaller and more intense compositions.

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Track 2 Opens with more music while the puppeteer sets up the puppets for the opening scene. The music grows quiet and the puppeteer then begins his narration, describing in detail the splendor and beauty of the Kingdom of Ngastina where the story opens. Track 3 (after item 13, sulukan) The story begins with the first major audience scene (jejer) taking place in the court of the Kingdom of Ngastina, home of the 100 Kurawa brothers. King Suyudana, the firstborn of the Kurawas, is troubled because he has heard that his cousins and arch-rivals, the Pandhawa brothers, have fallen under a strange curse. The court priest Durna brags that he brought all this about by his own powers to help the Kurawas defeat the Pandhawas in the predestined final great war, the Bratayuda. Suddenly a giant ogre arrives at the court and announces that he is an envoy from the Kingdom of Jongparang. After insulting the various guests of King Suyudana, the ogre demands that the queen, Déwi Banowati, be surrendered to become the bride of his lord, a prince of the Kingdom of Jongparang. The ogre, called Turanggamaya, also announces his intentions to take Priest Durna as well--to become the human horse that will draw the royal carriage for his lord. Naturally, the King and his allies are outraged at this request and the ogre is escorted outside to be punished. A terrible battle then begins. Track 4 (after item 187) The battle continues. However, the ogre is supernaturally powerful and easily defeats the King’s officers and soldiers in a vigorous battle. The ogre then flies off to the royal women’s quarters and abducts the queen, Banowati, and returns to the court seizing Priest Durna. He then flies off into the sky to return to the Kingdom of Jongparang. The performance then continues with music to introduce the second major audience scene. We now find ourselves in the court of the Kingdom of Jongparang where meanwhile King Aijijaya Diningrum is meeting with his Chief Counselor, the ogre Turanggadhèsthi, and his son, Prince Jatikusuma. Here we learn that Jatikusuma is in love with Queen Banowati, waiting for the other ogre, Turanggamaya, to return with her. It becomes clear the Prince Jatikusuma is a rather spoiled young man who exploits the generosity of his powerful and doting father. Ajijaya hopes that his envoy, Turanggamaya, fails in his mission to abduct the Queen and the priest. The king tries to dissuade his son from his outlandish plans, but to no avail.

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Track 5 (after item 290) As the king tries to talk sense into his son, Turanggamaya arrives with his two captives, to the delight of Jatikusuma. At first, Queen Banowati is livid at this outrage and absolutely refuses to even consider leaving her husband, King Suyudana. However, when Prince Jatikusuma threatens to cut her throat, she reconsiders but slyly tells the prince that she has a secret lover. Banowati reveals to Prince Jatikusuma that her lover is one of the Pandhawa brothers, his name Janaka (Arjuna). Before she will agree to marry Jatikusuma, she stipulates that the prince must first abduct Janaka and, in her presence, cut off his head. The prince orders Turanggadhèsthi to leave immediately and abduct Janaka who, as a result of the curse upon Ngamarta, is extremely ill. The ogre departs, along with his two clown servants, Togog and Sarawita, after a bit of tomfoolery. Meanwhile, in the Kingdom of Ngamarta (home of the Pandhawas), the powerful young hero, Gatotkaca, is guarding the borders. While resting in his search for his illegitimate brother, Srenggini, Gatotkaca thinks about recent events in Ngamarta. His uncles have guessed that the answer to the curse that has fallen upon their land is connected with the young Srenggini. Gatotkaca’s father, Bima, at the advice of Priest Durna, first beat and then chased Srenggini from the kingdom. Shortly after this, the curse had begun. While mulling over all this, Gatotkaca meets up with the supernaturally powerful Turanggadhèsthi. Track 6 (after item 504) Although endowed with incredible powers, the ogre is typically stupid and Gatotkaca tricks him in revealing his scheme to abduct the gravely ill Janaka. They then fight it out and Gatotkaca is literally blown away (by the ogre’s magical breath) and trapped in a storm cloud. At this point, the performance arrives at gara-gara, “turmoil in the cosmos,” signifying the underlying conflict behind the story and an interlude of entertainment in which the four clowns, Semar, Pétruk, Garèng, and Bawor, make their appearance. This section begins with a long series of musical compositions as the clowns are passed in front of the screen. Kindly and fat Semar, the first of the clowns and father to the others, a powerful spirit to the Javanese, finally makes his appearance. Eventually all the clowns (Garèng, Pétruk, and Bawor) present themselves and entertain us with music, including classical repertory compositions, an adaptation of a pop song, and several light but virtuosic traditional pieces.

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Track 7 (after item 635) After a couple of more songs, the story resumes and the clowns go to Janaka’s estate, Madukara, where they find him lying sick, attended by his two wives, Srikandhi and Sumbadra. Together, they ponder the calamity that has befallen the Pandhawas, especially Janaka’s illness. They realize that it all has something to do with Srenggini and Wrekudara’s refusal to acknowledge him as his son. At Semar’s insistence the two wives decide to rest while the clowns stand watch over their master. Meanwhile Turanggadhèsthi arrives and uses his magical powers to put the clowns all to sleep while he steals Janaka. When he flies up into the sky the clowns awaken and immediately notice Janaka’s absence. The ogre taunts them and the women from the sky. Srikandhi attempts to shoot Turanggadhèsthi down using Janaka’s magical arrow, Pasopati, but without success and the ogre departs. The arrow falls to the earth in the middle of a nearby forest. The clowns and Srikandhi chase after it and see it strike a tiger. Track 8 (after item 807) The tiger suddenly changes into the god Sang Hyang Narada. For releasing him from his animal incarnation, Narada advises Srikandhi to disguise herself as a itinerant dancing girl (the tradition is known as lènggèr) and secretly enter the Kingdom of Jongparang to aid her husband. Semar’s sons are to act as her troupe of musicians and accompany her on her journey. Meanwhile, in the court of the Kingdom of Ngamarta, King Puntadéwa, eldest of the Pandhawas, and his cousin and friend, King Kresna (of the Kingdom of Dwarawati), discuss the disaster that has befallen Ngamarta. They begin to realize that the curse is a result of a recent series of events: Bima, the second born of the Pandhawas, was visited by a young man named Srenggini who claimed to Bima’s son. At the advice of Durna, Bima, denied this claim and, after beating the young man, chased him out of Ngamarta. While they are considering this, the clown Semar suddenly arrives and tells them about Janaka’s abduction. Together with the twins, Nakula and Sadéwa (youngest of the Pandhawas), they depart for Jongparang. In Jongparang, Prince Jatikusuma with wisdom beyond his youth punishes Priest Durna for the many sins he has committed against the trusting Pandhawas. Suddenly, Turanggadhèsthi arrives with Janaka. In the royal women’s quarters of Jongparang, Banowati is attended by the lady-in-waiting, Biyung Emban.

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Track 9 (after item 992) In the women’s quarters of the Jongparang palace, Biyung the handmaiden attempts to calm her worried and crying mistress with a song. The prince arrives announcing that he is about to carry out her wish and behead Janaka. But Banowati outwits him again, asking him to bring Janaka out of his sickness so that she might speak to him one last time. Later, Banowati is left alone with Janaka and when he awakens she begins to seduce him. Jatikusuma and his father, King Ajijaya walk in at this point. Meanwhile, Srikandhi and her clown servants have reached the palace of Jongparang. Srikandhi manages to peer into one of the windows and, as luck would have it, she also catches Banowati and her husband in flagrante delicto. Janaka and Jatikusuma fight until Janaka’s brother the cursed Bima, in the form of an elephant, takes over. After a lengthy battle and several surprises, the curse is lifted. Bima and his son are reunited, Srikandhi and Janaka are united. The trusting Pandhawas once again forgive Durna and allow him to travel with them as they all leave the land of Jongparang.

act 1 Pathet nem [Talu]1 [Ayak-ayakan Banyumasan laras sléndro pathet nem]2 [Gendhing Bondhèt Banyumasan laras sléndro pathet nem] [Sirep]3 DHALANG:4 Aum...Lords, may there be no hindrances. In the name of silence. There is a great king, ruler of all earth. Hush, hush, while the Lord Sun sets. Mantras of the East cover the West, and the West is protected by the words ‘asta gangga wiran danu. Asta is hand, gangga: water, wira: that which is written upon, and danu means that which is written.5

1

1

Hong Willaheng Agnawastu [Awignam Wastu] nåmå sidhem sudibyå pranating rat Pramuditå. Rep, rep surup Hiwang [Hwang] Pratanggapati. Måntrå-måntrå wétan anggendanu kilèn. Kilèn pinayungan astå gånggå wirandanu. Astå-tangan, gånggå-banyu, wirå-papan, danu [tanu] tegesipun tulis.

See my discussion of overture (talu) in Chapter IV. The term Ayak-ayakan Banyumasan refers to a particular Ayak-ayakan in Banyumas style (meaning that it has characteristics unique to the Banyumas region). For more details on this piece, see my dissertation (Lysloff 1990b:258-65). Ayak-ayakan belong to the family of compositions known as gendhing lampahan, or ‘movement compositions’ (see Chapter IV) and are generally played to accompany courtly processions and the movements of gods. In this instance, characters of the opening court scene (jejer) are brought out and paraded in a slow and stately manner across the screen. They are then planted in prescribed positions with the king (Suyudana) seated higher than all his guests. In Banyumas, the king is always accompanied by two female attendants, one grossly fat and the other beautifully slender, who sit at his feet. Pathet nem refers to the specific musical mode (pathet) and sléndro to the scale (laras) of the composition being performed. 3 After being cued by the drummer (who is in turn signaled by the dhalang), the ensemble suddenly drops in volume and tempo (sirep). 4 Text in italics indicates the dhalang is speaking (or singing) in his own voice as narrator 5 Compare this passage to Zurbuchen’s translation (1987:x) of the dhalang’s opening invocation to Balinese shadow-puppet theater. In the Balinese version, the Old Javanese word wira (written uwira in Zurbuchen’s version of the Balinese text [1987:268]) is said to mean panuli, or 2

128

Act 1

Which is older, that which is written upon or that which is written? There are those that say which is written upon is the older, and there are those that say which is written is older. But the dhalang says that between the two there is no difference between the two. In the words of the wise men, the dhalang teaches wisdom because the dhalang reveals the meaning of the Great Books. The first is the Book of Paramayuga, the second the Book of Pustakaraja, the third the Book of Purwakandha, and the fourth the Book of Mahabharata.6

2

Sepuh pundi papan såhå tulis? Sewenèh wonten ingkang mastani sepuh papan, sewenèh wonten ingkang mastani sepuh tulis. Ananging menawi dhalang mastani papan såhå tulis tan prabédå. Ujaripun pårå winasis, dhalang punikå ngudhal piwulang. Awit ndhalang karånå nggelaraké suraosing wédhå. Setunggal wédhå Paramayugå, kalih wédhå Puståkåråjå, tigå wédhå Purwåkåndhå, sekawan wédhå Måhåbhåråtå.

The four Great Books contain the signs hanacaraka, datasawala, padhajayanya, and magabathanga. Hanacaraka is found in the East, datasawala in the West, padhajayanya in the South, and magabathanga in the North. The origins of story-telling are revealed in the words “kandha budha purwaka.” Kandhas concerned with the story, budha with the sources, and purwaka with the begin

3

Wédhå sekawan ngemu suraos: Hå-Nå-Cå-Rå-Kå, Då-Tå-Så-WåLå, På-Dhå-Jå-Yå-Nyå, Må-Gå-BåThå-Ngå. Hånå cåråkå dumunung wontening sisih wétan, dåtå såwålå kidul, pådhå jåyånyå kilèn, lèr mågå båthångå. Purwaning cariyos awewaton: Kåndhå Budhå Purwåkå. Kåndhåmarang caritané, Budhå marang asalé, Purwåkå marang kawitané.

writing brush, while in Banyumas the dhalang says it refers to papan, writing board. The word danu (correctly spelled tanu) refers to tulis, or writing, in Banyumas while in Bali it means mangsi, ink. In both the Banyumas and the Balinese version, hasta (or asta) refers to tangan (hand) and gangga to banyu (water). The word wira seems to be somewhat of a mystery. In Zoetmulder’s dictionary (1982) it is translated as ‘brave man, hero, valiant warrior’, and related words. It may refer to the warrior’s shield: hence, the idea of board. It may also be a variation of the word wilah or welah, perhaps referring to board or panel of bamboo. Another possibility might be that wira here is a variation of the word wirada, a word meaning ‘bamboo’. In this, a relationship with ‘writing brush’ could be found since such an instrument may have been made of bamboo. 6 The dhalang poses the question of which came first, the spoken or the written text. This question is especially significant here since wayang is an oral tradition based upon an older, literary tradition – meaning here, of course, that the epic Mahabharata came to Java as a written text (see further Sears 1984:19). In this passage the dhalang provides a compelling argument against a dichotomous view of orality and literacy (see, for example, Ong 1977; Goody 1968; Havelock 1963; Lord 1960). More recent studies, such as Kumar 1984, Sweeney 1980 and Finnegan 1976, also dispute the dichotomous view. In a particularly telling passage, Kumar (1984:224-5) notes that in practice we do not find an absolute gulf between the oral and the written, but rather an almost infinite spectrum between these two conceptual poles. Indeed, for the dhalang, there is no difference between the spoken and the written. He moves easily between these two noetic realms to disseminate the great literary tradition of the Mahabharata through the oral media of narration.

Pathet nem inings. Thus, what is now known as the great war is in fact a work of which the only remaining traces are images conjured up by man.7

129

kawitané. Pramilå samangké kawastanan perang Budi kang tetélå karyå tetilasing tabet, ingkang awujud gambaré rinékå jalmå.

This is what is known as wayang. Wayang is a reflection of and an allusion to life for it illustrates deeds--noble deeds as well as evil deeds. In Classical Javanese, wayang is called “ringgit” and it refers to cryptic writings that are explained through stories. These stories are creations of the great sages of days long past, including Kangjeng Sunan Kalijaga.8

4

Yaiku ingkang kawastanan wayang, wayang pralampitå wewayanging agesang sartå gegambaring pakarti, pakarti saé lan pakarti awon. Wayang, kawinipun ringgit, tegesipun karipta miring sarånå dipun anggit. Anggitanipun pårå pujånggå linangkung dhuk ing uni kalebet Kanjeng Sunan Kalijågå.

The unfolding of the cosmos is made up of three great eons: first called Tirtayuga, the second Dwapara, and the third Sengara. Although there are three, only one era concerns us, namely Tirtayuga. This era is known as Tirtayuga because the unfolding world was yet formless and no mortals existed upon the earth. There were only the four elements: namely, that of the sun, the moon, the stars, and the earth.9

5

Gumelaring jagad råyå yekti wonten jaman ageng tigang perkawis: setunggal jaman Tirtåyugå, kalih jaman Dwåpårå, tigå jaman Sengårå. Senadyan jaman tigå sajugå ingkang minångkå awewaton yaiku: Jaman Tirtåyugå. Kawastanan jaman Tirtåyugå awit...jagad ingkang gumelar taksih ngawang-uwung tan wonten aneng marcåpådå. Aming wonten wewarnèn Catur Warnå, yaiku: Suryå, Cåndrå, Kartikå miwah Bawånå.

7

Sugino is referring to the four venerated manuscript sources of stories known by most accomplished dhalang, though not necessarily included in their repertory. These form the literary canon of the tradition and they make up the standard by which all other stories are measured. They include the Paramayuga, the Pustaka raja Purwa, the Purwakandha, and the Mahabharata (the Parwas). Handwritten (in Javanese script) or typed transliterated copies of these are owned by many dhalang. The Pustaka raja Purwa is emblematic of the Solonese court while the Purwakandha that of the Yogya court. The Purwakandha, however, is far less known among dhalang from around either court centers (see further Clara van Groenendael 1985:32-3). This passage suggests that the dhalang interprets the written texts by way of the spoken word, some now irretrievably lost. The ‘great war’ mentioned here is probably the Bratayudha, the final war between the ninety-nine Kurawas brothers and the five warrior heroes, the Pandhawas. 8 The most famous of the Javanese Nine Saints (wali sanga) who are said to have brought Islam to Java. 9 In Central Java, the passages narrated up to this point (items 1-5 in the text transcription and translation) are not, to my knowledge, heard outside of the Banyumas area. In most wayang performances, the opening narration (the first audience scene) begins with item 7. I asked several

130 Hush, let us begin our story...it grows dark; hush...it is becoming late. What kingdom is it that we mean by “éka adi dasa purwa?” Éka is the number one, adi revered, dasa the number ten, and purwa the beginning. Many of God’s creatures lived upon mother earth, protected by the heavens above, and flanked by the oceans. Although not few of them were wonderful to behold, none were as beautiful as those of the Kingdom of Ngastina, Land of the River Elephant, with the Palace of Gajahaya. Indeed, it is fitting our story begins with the

Act 1 6

Sinigeg ingkang hamurwèng kåndhå...suh, rep dåtåpitånå. Hanenggih negari pundi tå punikå ingkang ka-‘ékå adi dåså purwå’? Ékå: wilangan siji, Adi: tegesé linangkung, Dåså: wilangan sepuluh, Purwå: iku wiwitan. Senadyan kathah titahing déwå ingkang kasongan akåså sinånggå ing pratiwi, kapit ing samudrå kathah ingkang sami anggånå laras, nanging mboten kadyå Negårå Ngastinå yå Negårå Liman Benawi yå ing Kraton Gajahåyå. Pramilå pantes kinaryå bebukaning

dhalang where this first passage (items 1 through 6) originated and why it is found only in the Banyumas region. They all confessed to not being sure but had either one of two theories. The first theory suggests that it was created in Banyumas, composed by a prominent local dhalang of long ago. Its purpose is to remind both performers and audience of the origins and purpose of wayang kulit. The other theory, by Dhalang Sugito Purbocarito, argues that it was derived from a early type of wayang kulit performed as a purification ritual (ruwatan) throughout Central Java. This type of wayang is still performed but the passage, apparently, has long since been dropped. Sugito told me, however, that it might still be heard in the Yogyakarta area. Recently, I learned through Cathy Foley that a similar opening passage is heard in West Javanese (Sundanese) puppet theater. Note the similarity of the passage below, taken from Foley’s translation (1990), with items 1-5 of my own translation, suggesting a common origin of the two passages: [...] May all aims reach their end as set forth in the manuscripts the leaves of which show us holiness and are filled with the work of high minds. Asta ganga wira tanu lan patra. Asta is hand; ganga water; wira high minded person; tanu is ink; patra means pen. This is how it begins, there were letters that split. Eka lawan sadasa. Eka means one. Sadasa, ten. Thus it was there were nine wali, and the tenth the almighty. Great knowledge spread. Thus it was that there were two alphabets: the wilanjana and the wilanjani. The wilanjana are the first letters, and the wilanjani the last. The first letters came to the west and arrived in the land of Arabia become the thirty letters. The last letters came to the east and arrived in the land of Java. Thes are the twenty letters. One by one they are: hanacaraka datasawala Padajayana magabatanga. By the wise and provident poet these were split to the four directions. Hanacaraka arrived in the east, datasawala arrived in the south, padajayanga arrived in the west, magabatanga arrived in the north. Hana caraka that is ‘the message’, data sawala that is the ‘the messengers’, pada jayana ‘the messengers are equal in spirit’, maga batanga that is ‘struck down’: the letters fall dead to the north. The phrase, asta ganga wira tanu lan patra, in Foley’s passage contains the word patra. In Zoetmulder’s dictionary (1982) of Old Javanese, this word means leaf for writing on, letter, or document, although the dhalang in Foley’s passage refers to ‘pen’ (its meaning, perhaps, in Sundanese). Foley’s passage also elaborates on the meaning of the Javanese alphabet, the ‘Hanacaraka’. I have heard similar versions of this story of the two messengers during my past visits to Java. Most important in both passages, however, is the clear reference to and, as Foley mentions elsewhere in her paper, praise of an older almost extinct literary tradition.

Pathet nem Kingdom of Ngastina, because it was a great and vast land, with sandy coasts and huge mountain ranges. It was prosperous and fruitful and it was a land of law and order.

131

critå awit Negari Ngastinå kang panjang-punjung, panjang pasirwukir, loh-jinawi, gemah-aripah kertå tur raharjå.

Lengthy were the praises over the kingdom, honored and exalted was the authority of its king. In the land of Ngastina there were many mountain ranges. They descended down to fields of rice, and set the course of its rivers. The rivers in turn emptied into its great harbors. The land flourished in every way; its harvests were plentiful and affordable to all; its subjects prospered, conducting trade ceaselessly from morning to night without a single person suffering from hunger in the streets. They all lived in bustling cities of many houses, crowded so close together, so dense that even large spaces felt small. Such was the prosperity of the kingdom.

7

Panjang dåwå, dåwå pucapaning pråjå, punjung dhuwur luhur kawibawaning naléndrå, pasir iku samudrå, wukir iku gunung. Negårå Ngastinå kathah pagununganipun ngéringaken pasabinan, nengenaken benawi, ngayonaké bandaran ageng. Loh tulusing ingkang sarwå tinandur jinawi murah ingkang sarwå tinuku. Gemah pårå kawulå kang lumaku dagang siang pantaring latri tan ånå pedhoté labet, datan ånå sengsayane ing margi. Aripah pårå kawulå ingkang sami dumunung wonten salebeting kithå saking kathahing wismå ngantos ketingal jejel, apipit aben cungkit tepung tritis papan wiyar ngantos ketingal rupek saking raharjaning negari.

The land was safe, without rebellion. Its cattle and oxen roamed the fields during the day to return to their stables themselves at dusk. Prosperous were the farmers of the villages, peacefully gathering to cultivate their fields. Dignitaries, ministers, regents and officials were all wise and experienced, erudite in statesmanship. Thus, the kingdom of Ngastina was a land where justice reigned. Farreaching was its fame and broad was its jurisdiction.

8

Kertå tebih saking parang mukå. Ingon-ingon råjåkåyå, kebo yèn siang sami agelar wonten pangonan yèn soré sami wangsul mring kandhangipun piyambak-piyambak. Raharjå nåråkismå ing pedhusunan sami tentrem ngumpul anggennyå mangolah tetanèn. Nåråpråjå, mentri, bupati saperanakanipun sedåyå sami lumrah bijaksånå limpeding kawruh putus marang wajib pangolahing pråjå. Sayekti Negårå Ngastinå, negårå kang gedhé oboré, adoh kuncarané, tur jembar laladané.

The king of Ngastina was wealthy in worldly possessions and prosperous in family and followers; he was a revered king. Yet he possessed one flaw. The flaw of Ngastina’s king was his blind ambition and avarice. Who was this, that

9

Naléndrå Ngastinå, naléndrå ingkang sugih dunyå brånå, naléndrå ingkang båndhå-bandhu sentånå, naléndrå gung binatårå. Ananging Sri Nårånåtå andarbé kuciwå, kuciwanipun Naléndrå Ngastinå

132

Act 1

ruled the kingdom of Ngastina? His name was Prabu Suyudana, Prabu Jakapitana; he was also called Prabu Kurupati and Prabu Anggendari Putra. He was known as Prabu Anggendari Putra because he was the first-born of Princess Anggendari. He was also called Kurupati because he was the first-born of the Kurawa brothers.10

sang prabu andarbé watak candålå budi ingkang nasar. Sinten tå jejuluking Naléndrå Ngastinå? Yaiku kang jejuluk Prabu Suyudånå, yå sang Prabu Jåkåpitånå, ugi jejuluk Prabu Kurupati, yå sang Prabu Anggendari Putrå. Mårmå jejuluk Prabu Anggendari Putrå, Sri Nårånåtå putrå pembayun Dèwi Anggendari. Mårwå jejuluk Prabu Kurupati, sang prabu kadang pembayuning pårå Kuråwå.

On the day of Respati,11 the king appeared and held court. He sat on his throne of gold and ivory lined with batik studded with diamonds and gem-stones. He sat, attended by his female court retainers who brought in his golden figures of lordly power: his swan, his snake, his rooster, and his diamond decorated elephant.

10

Nujuari Respati, Sri Nårånåtå miyos sinéwåkå lenggah wonten kursi gadhing dampar kencånå, ngagem lelèmèk babut linamatan ingkang binathik ing kemålå retnå. Sri Nårånåtå lenggah kaayak bedhåyå sarimpi manggung-ketanggung ingkang sami ngampil upåcårå nåtå, banyak dhalang, ardåwalikå, sawunggaling, kacumas dwipånggå kang sarwå retnå.

The king sat, enveloped in a bouquet of fragrant oils of flowers, cooled left and right by fans of peacock feathers. Suddenly, all was absolutely silent. Even the insects were mute and the wind still. Not a single leaf in the trees stirred. The only sounds were the singing of the

11

Sri Nårånåtå lenggah sinebaran sari gåndå widuring sajebadan kasturi, kinebutan talar badhak kanan-kèring kongas gandanipun sang prabu. Rep, sidhem premanem, tan ånå ­baning walang alisik, samirånå, datan lumampah godhong kekayon mboten

10

Many, if not most, characters in wayang have several names. Sometimes different names reflect a character’s age (such as Janaka, as the young Arjuna) but more often they represent a character’s different attributes. For example, yet another widely known name for Suyudana is Duryudana. Suyud refers to loyalty or obedience; the phoneme ‘su’ also refers to a good or virtuous character. On the other hand, ‘dur’ refers to bad or evil qualities. The two names thus suggest a character that is somewhat torn between good and evil. While Suyudana is a just and virtuous ruler, his kingdom great and prosperous, he acquires and maintains his power through trickery and deceit. In other cases, names may represent a character’s lineage, background, or even exploits. 11 The traditional Javanese lunar calender is reckoned with both a seven-day week and a five-day market week. The days of the seven-day week were previously Sanskrit, named after planets, but were later changed to Arabic names. Respati is part of the Sanskrit seven-day week and may be equated with our Thursday (see further note 23 in Clara van Groenendael 1985:2056). For a comparison of Javanese calendrical systems and musical organization, see J. Becker 1980:197-210.

Pathet nem engkuk and jalak birds as they perched high above in their cages suspended from the rafters, gamelan music of the king’s musicians, and a distant rhythm of ringing and hammering of the royal smithies forging decorations for the throne.

133

ketingal obah. Ingkang kapiarså ming suwantenipun si engkuk tun [tuwin] jalak ingkang samiyå munyå saluhuring tratag rambat, tuwin suwantening abdi gendhing pandhé kemasan ingkang sami nyambut karyaning ratu. Kapireng pating tlèngkrang [clèngkrang], pating tlèngkring [clèngkring] imbal ganti mandrågå [mandråwå] tekå ndamel srining panangkilan.

Who was it that stood in the front, facing the king? It was the king’s chief counselor. Though he was clever, he failed to provide the king with wise advice. His name was Radèn Sengkuni, Radèn Suman, or Radèn Anggendara.12 Who was it sitting next to him, facing the king? An elder, wearing the clothes of a brahman, the court priest of Ngastina known as Resi Kumbayana or Dhanyang Durna. At his side was the king of Mandura, known as Prabu Kakrasana, Prabu Jaladara, Prabu Balarama, or also called Baladéwa. Who was it that sat in the back? A king from Ngawangga Trisaya, the king of Ngawangga Tengah, called Prabu Suryaatmaja, or Prabu Basukarna.

12

Sinten tå punikå ingkang sébå wonten ngabiyantårå nåtå? Wrångkå dalem, patih julig nanging putus maring wajib pangolahing pråjå ingkang nami Radèn Sengkuni yå Radèn Suman yå Radèn Anggendårå. Sinten tå punikå ingkang lenggah jajar mungguhing arso? Setunggal pinisepuh ingkang ngagem busånå kabrahmanan pujånggå kraton ing Ngastinå ingkang jejuluk Resi Kumbayånå yå Dhanyang Durnå, jajar pilenggahipun kalayan naléndrå saking Madurå yaiku jejuluk Prabu Kåkråsånå yå sang Prabu Jålådårå yå sang Prabu Bålåråmå ugi jejuluk sang Prabu Bålådéwå. Sinten tå punikå ingkeng [ingkang] lenggah mungguhing wuri? Naléndrå saking Ngawånggå Trisåyå yå naléndrå saking Ngawånggå Tengah ingkang jejuluk Prabu Suryåatmåjå yå sang Prabu Basukarnå.

The royal court was filled to over-flowing, an ocean of faces, with knees pressed against knees, reaching to the ends of the palace grounds. The story begins here... The peace and order of Ngastina could not be praised enough, not even a full night and a full day of praise would suffice. It is told that the king Suyudana

13

Paséwakan mambak-mambak mblabar lir samodrå surut ketingal jejel, apipit thuk dhengkul, tumpang wrångkå, mblabar dumugi tepining panurakan [pangurakan]. Sinigeg ingkang murwaning kåndhå...tåtå-titi tentreming Negari Ngastinå kalamon ginunggung sedalu mboten jangkep

12

While Sugino pronounces it ‘Sengkuni’, the character’s name is commonly written as ‘Sangkuni’.

Act 1

134 came out to hold court, sitting on his throne of gold and ivory. Now hear the king speak, welcoming his elders and his young relatives who have come to pay their homage.13

sadalu, sedinten mboten jangkep sedinten. Kacaritå nalikå samono Sri Nårånåtå Prabu Suyudånå, miyos sinéwåkå lenggah wonten kursi gadhing dampar kencånå. Sapandurat Sri Nårånåtå kepareng kerså mbabar sabdå pangandikå kawijiling lésan, atur pambagyå rawuhipun pårå pinisepuh tuwin pårå kadang wredhå.

[Kombangan dhalang]14 Balungan :

·

[5]

·

6

·

5G

DHALANG : 2 2 2 2 2 2 : Dyan sem- bah réng u- lun Balungan :

·

[3]

DHALANG : :

·

2 2 2 2 2 2 ka- pur- bå ri- sang mur-

Balungan : 2

3

2

·

DHALANG : 2 : bèng

2

3

5 2

6

5

3

2

2 rat,

13 Up to this point (items 1-13), the narration is known as janturan. Characteristically, the dhalang self-consciously speaks to his audience in both languages of the past and languages of the present, using whole vocabularies, turns of phrases, and expressions not found in everyday spoken Javanese, even in formal exchanges. He uses a literary form of Javanese, teaching his audience archaic and poetic forms of speech – forms that are otherwise only found in written texts. We might wonder why the dhalang bothers to do this. In rural areas, Javanese language is used mainly – perhaps solely (among some villagers) – as a spoken language. Many villagers, in fact, know only informal Javanese (ngoko). It might be that wayang teaches audiences about itself: to better understand and enjoy the tradition. As we read the translations we must keep in mind that they are already far removed from the orally formed texts of the dhalang. While referring to, paraphrasing, or even quoting from written texts, the dhalang communicates them to his audience through an oral media. In listening to this and other performances, we can hear that literary devices may be found in the way the text is delivered. Some of the orally communicated texts in the janturan have many of the same characteristics of texts found in written or printed form. For example, parts of the narration are ‘fixed’; that is, words are made permanent in relation to other words – they are performed the same way each time. They are also fixed in the way described by Dennis Tedlock (1983:234): ‘To fix a text without visible marks is to bring stress and pitch and pause into a fixed relationship with the words’. 14 Rasito refers to this entire sung passage as a kombangan, defining it as a vocal cue, but in Solonese wayang kulit this is called suluk gendhing. Throughout this study, however, I will follow Rasito’s designation since it is consistent with Banyumas usage (Sena Wangi 1983:46). I have

Pathet nem

135

Balungan :

2

3

6

5

Balungan :

1 �

6

5

3

Balungan :

2

1

6̣

5

Balungan :

2

3

5

2

DHALANG : · : Balungan : · 2 daBalungan :

2 sih





2 ma- 2 2 we-

· 3 2 wèh 2 gung

· 3

2 Ni-

2 ko6

2 bo-

2 gå 5

2 2 nang sing 5 2 sa-

2

·

·

·

Balungan :

·

3

5

6

Balungan :

2

1

2

6

DHALANG : :

6 Dyan

Balungan :

2

DHALANG : : Balungan :

· 3

Balungan :

5 ko-

6 nang

6 a-

6 me-

6 6 mu- jwèng

1

2

6̣

·

·

·

5

6

1�

6

5

2

3

Balungan :

1�

5

1�

6

Balungan :

1�

5

2

3

Balungan :

·

5

·

Balungan :

6

3

2

·

·

1 · 1 6̣ ... 3 · .

6̣ 5̣

2 DuBalungan : · Balungan :

2 ta-

2 ning · ·

6 O...

2

3

5

5 2 rat

2 ku-

2 tå-

5G .

included the musical notation (in ciphers) to show how Sugino uses kombangan to signal the musicians that he is finished narrating and wishes the music to return to normal loudness and tempo (udhar). My English translation follows the sung passage.

Act 1

136 DHALANG [text translation]: A lord bowing to his subjects, Began presiding over his realm, Loved by his subjects, Providing a great feast for all, A lord whom they honored... O... An ambassador of virtue...

[Udhar: continues with Bondhèt Ciblon]15 [Suwuk]16 [Sulukan pathet nem ageng Banyumasan laras slèndro pathet nem]17 3 3 5 6 56 5-3 Leng-leng myang sa-sång-kå, 2 3-535 5 5 5 2 35-35 5 Wa-yah- nyå la-gyå su-ma- ras, 5 5 6 6 56 6 Ri-neng-gå ing pu- ri, 3 3 3 3 3 5-6 565 Yek- ti å-nå sur- man- då-

3-2 yå,

5 5 5 5 56 2 35 5 Man-då-yå se-kar-ing kis-må, 3 5 6 6 6 6 6 6 6 Ju- [Ja-] la-dri ka-pi-tan ing sur-yå 6 6 6 5-6 6 Di- [Dè-] ning wang-kå- wå, 3 3 3 3 5 6 5353 2 [Han-jrah] su-mem-bur sa-king sa-lirå, 3 5 5 5 5 3 5 6-1�61�56 353 5-3 Ri-sang sa-lén-drå sa-lé-lå lé- lå, 5-35 5 2 2 2 2 2 212 1 1-21 6̣ 5̣ Ri- sang se-kar sa-lén-drå suk[s]-meng nå- lå, 15

The term udhar indicates that the ensemble has returned to normal volume (and tempo) after playing softly (sirep or sirepan). The sindhènan, or female soloist part, for this section (inggah) of Gendhing Bondhèt is not shown in the Appendix since it is performed in the more common Solonese style. The term ciblon refers to a particular style of drumming used in this section of the piece. 16 The term suwuk (‘to end’) means that the music has drawn to a close. 17 For details on this and all other sulukan in this study see Lysloff 1990.

Pathet nem

137

3 3 3 5 3 126̣ 1 6̣ Run [Rum] sdi [sedyå] as-må-rå dé- wå, 2 216̣ 2-3 3 6̣ 1 2 2 2 2 5-321 6̣\ 1 6̣5̣6̣5̣-6̣3̣ Dé-wa- ta- ning dé-wa-ta-ning suk-mèng nålå, 1 1 1 1 1 1 1 1 2-16̣5̣ 5̣ Sa-li-rå ma-di-byå di-byå jayèng, 2 12-16̣2 2 2 216̣1 6̣ 1-16̣2 2 6̣ Sang nåtå ngen-di- kå alon, É... DHALANG [text translation]: Entrancing was the moon, Radiating its age, Adorning the palace, Yet there was a celestial ocean An ocean decorating the earth A sea flanking the sun With a rainbow, Radiating from his body, The glorious king was praised, With songs of love, Loved by the gods, Filled with strength and majesty, The great king spoke quietly... É.. SUYUDANA:18 Father priest, father?19

14

DURNA: I await your command, young king.20

15

18

Båpå Pendhitå, Båpå? Kulå nuwun dhawuh sabdå pangandikå, Nggèr Putrå Prabu.

In the dialogue, to indicate a change in topic or to distinguish between characters, Sugino strikes his puppet box (with his cempala) using a characteristic sequence of long and short knocks. In terms of long and short taps, the knocks might be indicated as follows: L L L S S L or, sometimes, L L S S S L. The final knock is often accented. 19 Kinship forms of address present thorny problems for the translator since these cannot be rendered satisfactorily in English, particularly because of the complex social (but not necessarily biological or legal) relationships they imply. Here, for example, Suyudana, a powerful king and eldest of the ninety-nine Kurawa brothers, shows deference toward his beloved teacher by calling him ‘father’. However, he uses the low Javanese form, Bapa, suggesting affectionate familiarity as well as acknowledgment of Durno’s lower social status compared to his. 20 Known for his command of mystical knowledge, Durna is the king’s powerful court priest who, before aligning with the Kurawas, was teacher to the Pandhawas brothers. As this story will show, he often misuses his priestly powers and status against the Pandhawas, resulting in his own downfall and humiliation.

138 SUYUDANA: I trust that your journey here from Suka Lima was a safe one, father?21

Act 1 16

DURNA: 17 Indeed it was, my son.22 Willingly, I came to honor your exalted invitation. As an elder cherished by the gods, the thirty gods of nine forms, and loved by all of the spirits, I have not once suffered troubles or hindrances, my young king.23

SUYUDANA: Assuredly.

18

DURNA: Thus, I have arrived safely to honor your esteemed invitation, my young king!

19

20 SUYUDANA: Assuredly, father priest. Allow me to express my welcome to you, father priest. 21 DURNA: A thousand humble thanks, the kindness of your majesty pours forth. I accept this honor and wear it like an heirloom around my neck.

21

Rawuhipun Båpå Pendhitå saking Sukå Limå winantu saking karahoyon, Båpå? Kawulå nuwun inggih, Nggèr Putrå Prabu. Pisowanipun Ingkeng [Ingkang] Båpå wonten ing ngarså mundhi kaluhuran dhawuh timbalanipun. Karånå Keng [Ingkang] Båpå setunggaling Pendhitå ingkang kinasihan déning sang hyangning [hyanging] pårå déwå, déwå tri dåså watak nåwå. Ugi kinasihan dèning pårå widådari-widådari. Ingkang punikå, Nggèr Putrå Prabu, sadangunipun ingkang Båpå mboten naté pikantuk sambékålå, mboten naté pikantuk alangan satunggal punåpå, Nggèr Putrå Prabu. Nuwun inggih. Lulus raharjå pisowanipun ingkang Båpå mundhi kaluhuran dhawuh tinimbalanipun, Nggèr Putrå Prabu. Nuwun inggih, Båpå Pendhitå. Kepareng ngaturaké segahan panakrami katur Båpå Pendhitå, Båpå. Matur séwu nembah nuwun, sih panakramanipun Padukå Putrå Prabu ingkang lumèbèr, ingkang Båpå kulå tampi pinundhi wonten lungåyå.

The hermitage (pertapan) where Durna meditates. The expression, ‘my son’ (nggèr, literally ‘young man’) indicates affection by a much older speaker. 23 The rather affected English here and in following passages is to evoke the formal speech style of the original Javanese. 22

Pathet nem May it increase my authority, my king.

139

Mugi-mugi muwuhi dhateng båwå leksånå kulå, Nggèr Putrå Prabu.

SUYUDANA: Thank you, father.

22

DURNA: Allow me in turn to offer my reverent greetings, my king.

23

SUYUDANA: I am honored to receive them, may they become a source of good fortune, father priest.

24

DURNA: Thank you, son. Moreover, not only a source of good fortune, but may they also add to the magnificance and greatness of your majesty the young king.

25

SUYUDANA: A thousand thanks, Father.

26

SUYUDANA: I welcome my brother,24 King of Mandura.

27

Nuwun inggih, Båpå. Kepareng sakonduripun pujå-puji astuti kulå katuran Padukå Putrå Prabu. Kulå tampi pinundhi mugi andadosaké jejimat, Båpå Pendhitå.

Kawulå nuwun inggih, Nggèr, mandar mboten amung ndadosaken jejimat kéwålå ugi muwuhi dhateng kaluhuran tuwin kawibawanipun Padukå Putrå Prabu. Matur séwu sembah nuwun, Båpå. Aturan rawuhipun Kåkå Prabu saking Madurå [Mandurå].

BALADEWA: 28 I await your command, your majesty my brother.25

Kulå nuwun dhawuh sabdå pangandikå, Yayi Prabu, Yayi.

SUYUDANA: My best wishes to you, my ­brother King Baladéwa.

Pangabekti kulå katuran Kåkå Prabu Bålådéwå.

29

30 BALADEWA: Well, majesty, my brother! Hua-haha...my great thanks, majesty. I am grateful for the kindness of your blessings which flow to me, Brother. I am honored, may they add to my 24

Wadhuh, Yayi Prabu, Yayi. Hua-haha-ha-ha-ha Genging panuwun kulå, Yayi Prabu. Dat [dahat] katedhå kalinggå murdå sih panakramanipun Padukå Yayi, ingkang lumèbèr

The word ‘brother’ here does not necessarily indicate blood relationship, but is simply a polite form of address to another male, either of similar or slightly older age. It is translated from the word kaka, literally ‘older brother’. Baladéwa is in fact not related to Suyudhana but an ally. He is the elder brother of Kresna (who appears later in this story) and known for his rather short temper. 25 The word ‘brother’ in this case is loosely translated from yayi, meaning literally ‘younger brother’. It, too, does not necessarily connote blood relationship.

140

Act 1 dhateng kulam Yayi. Kulå pundhi ing muståkå mugi muwuhi dhateng båwå sakonduripun pujå-puji astuti kulå katuran Padukå Yayi Prabu, Yayi.

authority and prestige, majesty, my brother. May I also in turn offer you my praise and greetings, your majesty my brother. 31 SUYUDANA: Great thanks, I appreciate your words of kindness, King Baladéwa. I invite you to make yourself comfortable, brother king. BALADEWA: I thank you, brother king, for your hospitality.

32

SUYUDANA: I bid welcome the king of Ngawangga Tengah.

33

BASUKARNA: 34 At your command, my brother king. SUYUDANA: Allow me to offer my blessings to you, my brother King Basukarna.26

35

BASUKARNA: My great thanks, brother. My heart swells with appreciation for your blessings. May they add to my authority and prestige, ­majesty, my brother. Allow me in turn to express my reverence to you, my king.

36

SUYUDANA: I appreciate your kind words. May they become a source of good fortune. I invite you to rest yourself comfortably, King Basukarna.

37

26

Genging panuwun, kulå tampi pinundhi Kåkå Prabu Bålådéwå. Kula aturi pinarak lenggah ing kang sekécå, Kåkå Prabu. Kawulå nuwun inggih, Yayi Prabu, sampun mboten kirang sekécå setunggal punåpå. Katuran rawuhipun Kåkå Prabu saking Ngawånggå Tengah. Kulå nuwun dhawuh pangandikå, Yayi Prabu, Yayi. Kepareng ngaturaken pangabekti katuran Kakang Prabu Basukarnå. Kawulå nuwun inggih genging panuwun kulå, Yayi, kanthi raos agenging manah. Kulå tampi pinundhi mugyå muwuhi dhateng båwå leksånå kulå, Yayi Prabu, Yayi. Kepareng sakonduripun pujå astuti kulå katuran Padukå Yayi Prabu. Kulå tampi pinundhi mugi andadosaken jejimat, Kåkå Prabu. Kulå aturi pinarak lenggah ingkang sekécå, Kåkå Prabu Basukarnå.

Basukarna (or Karna) is actually the older half-brother to three of the Pandawa brothers (Bima, Arjuna, and Yuddhistira). His mother, Dewi Kunthi, was impregnated by the god Surya before she was wed to Pandhu, the father of the Pandawas. However, she abandoned her son immediately after he was born. Basukarna thus grew up among the Kurawas and came to be one of their most loyal allies against the Pandhawas.

Pathet nem BASUKARNA: I thank you for your hospitality, brother.

38

SUYUDANA: Uncle Sangkuni, uncle.27

39

SANGKUNI: I am at your command, my young king.

40

41 SUYUDANA: Please seat yourself, Uncle Sangkuni. Because today is the day we hold counsel, I would like to discuss matters of state. I wish to discuss tidings of the Kingdom of Ngamarta that have reached Ngastina here. The news is that my cousins the Pandhawas suffer grave misfortune. Is this true, Uncle Sangkuni?

SANGKUNI: Indeed it is, my young king.

42

SUYUDANA: Father teacher, father.

43

DURNA: 44 Your word is my command, my lord. SUYUDANA: 45 According to the tidings from Ngamarta, Puntadéwa has lost the appearance of the king of Ngamarta.28 He has now taken on the form of an ogre of mountainous dimensions, father. The royal palace of Ngamarta has become overgrown with grass and vines that grows so

27

141

Kawulå nuwun inggih genging panuwun kulå, Yayi, sampun mboten kirang sekécå setunggal punåpå. Paman Haryå Sangkuni, Paman. Kulå nuwun dhawuh sabdå pangandikå, Nggèr Putrå Prabu. Kulå aturi pinarak lenggah, Paman Haryå Sangkuni. Awit ari palenggahan samangké kulå arså, ngrembeg tåtå-titi tentreming nagari. Ingkang badhé kulå rembag aming pawartos saking Pråjå Ngamartå ingkang dumugi wontening Ngastinå. Pawartosipun kadang kulå Pandhåwå sami nandhang cintråkå, punåpå punikå sayektos, Paman Haryå Sangkuni? Kawulå nuwun inggih, Nggèr Putrå Prabu, ngèstokaken dhawuh. Båpå Pendhitå [Pandhitå], Båpå. Kulå nuwun dhawuh pangandikå, Nggèr Putrå Prabu. Kepareng badhé njumbuhaké pawartos saking Pråjå Ngamartå. Pawartos ingkang kulå uningani Yayi Prabu Puntadéwå ical sipating Naléndrå Ngamartå. Samangké Yayi Prabu Puntadéwå asipat raksekså ingkeng agengipun sagiri-sutå, agengipun, Båpå. Kraton Ngamartå

Sangkuni is one of the king’s chief court advisors and known (to audiences) for his cunning deceit and sly, cynical jokes. Between him and the priest Durna is a strong rivalry for power that surfaces in humorous and sometimes even vicious ways.

Act 1

142 fast and lush that what is cut in the morning grows back by nightfall and what is cut in the evening is replenished by morning. My cousin Wrekudara no longer appears to be human and has become a great diamond-eyed white elephant. Cousin Arjuna lies ill, half-dead. My two cousins Nakula and Sadéwa are no longer human but have become a pair of identical white forest deer. Is this true, father teacher, father?

thukul glagah pengalang-alangan binabadan énjang sonten thukul, binabadab sonten énjang thukul. Kadang kulå Werkudårå [Wrekudårå] ical sipating menungså [manungså] dados dwipånggå sétå nétrå kumålå. Kadang kulå Arjunå nandhang sangkit [sakit] mådyå sirnå. Kadang kulå Nakulå-Sadéwå ical sipating menungså dados sétå kancil kembar kalih. Pawartos ingkang mekaten punikå leres punåpå mboten, Båpå Pendhitå, Båpå?

[Sulukan pathet nem jugag laras sléndro]29 DHALANG: 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 1 2-12 2-3 6̣ Lir sad pa-dèng-sun tu-mi-ling ma-ngu- lat- i,

3 3 3 3 3 3 3-5232 2 Pus-pi-tå èn-dah kang war- ni,



6-5 3 2 2-16152 612 2 O... mi-de-ring ta- man,



2 3-5 2 2 2 2 2 216̣5̣6̣ 1-6̣5̣6̣5̣ A- nom a-nom se-kar war- siki,



6̣ 6̣ 6̣ 6̣ 6̣ 2 2 2 Ku-me-nyut-ing tyas bå-yå tå,



2-1 2-3 3216̣ 1-2 1-6̣5̣ 6̣-5̣3̣5̣3̣ Ja- tu- krå- må, É..., O... DHALANG [text translation]: Like a bee I watched, Flowers beautiful in their forms, Visible throughout the garden, The young gardenia flower, My melancholy is swept away, My love, É... O...

28

Puntadéwa, king of Ngamarta, is eldest of the five heroes, the Pandhawa brothers: Puntadéwa, Bima (or Wrekudara), Arjuna, Sadéwa, and Nakula. 29 The term jugag means that this sulukan, or mood song, is abbreviated; being a sulukan pathet (or pathetan), it evokes a calm mood. As with kombangan, I have indicated an approximation of the melody in Javanese cipher notation.

Pathet nem DURNA: Bujug, bubbling boiling blasted bare-bottomed blackbirds of bliss. Allow me, my lord, to interrupt and say a few humble words.30

46

SUYUDANA: Speak, father teacher.

47

DURNA: Thank you, my son. What you just described is not inaccurate. These are indeed the tidings, my lord. I already knew of the situation of the Kingdom of Ngamarta, and it is indeed so. These are not idle rumours; it is not foolish talk; it is true, my king.

48

SUYUDANA: Indeed?

49

DURNA: It is true, the royal palace of Ngamarta is overgrown with jungle. His Majesty, King Puntadéwa has become an ogre of mountainous dimensions, that is a fact. Young Wrekudara has become a diamond eyed elephant, that is a fact. The young twins Nakula and Sadewa have become a pair of identical white mousedeer, that is a fact. Young Arjuna lies comatose suffering from a grave illness, that is

50

30

143

Bujug, lolé-lolé blegedhug manyarmanyar emprit gantil buntuté kiså. Kepareng ngunjuk sumelå atur katur wonten ngandaping pepådå. Kados pundi, Båpå Pendhitå? Kulå nuwun inggih, Nggèr. Kawedar ingkang mekaten kålå mau sayektos pawartos ingkang mboten lepat, pawartos ingkang nyåtå, Nggèr Putrå Prabu. Sinaoså ingkeng Båpå ugi sampun angertosi menawi kawontening Pråjå Ngamartå, ingkeng mekaten kålå niku leres. Mboten pawartos ngåcåwårå, mboten pawartos ngawur, punikå pawartos ingkang pinanggih yektos, Nggèr Putrå Prabu. Nuwun inggih. Leres-leres Kraton Ngamartå thukul glagah pengalang-ngalangan. Keng [Ingkang] Rayi Prabu Puntådéwå dados rasekså ingkang sagiri-sutå agengipun, niku leres. Keng Rayi Werkudårå dados dwipånggå [dipånggå] sétå nétrå kumålå, niku leres. Keng Rayi Nakula-Sadéwå dados kancil pethak kembar kalih, niku leres. Anak Pangèran Junå [Arjunå] nadhang cintråkå mådyå sirnå, niku leres. Heh...niku-niku-

This alliterative phrase is really my own concoction since Durna’s characteristic words cannot be satisfactorily translated. My informants tell me that they are simply what Durna says or that the words represent a kind of explicative or incantation. Perhaps the phrase is a slightly humorous verbalization of his incomprehensible esoteric knowledge. The word, bujug, has no absolutely translation as far as I can determine and likely just represents Durna’s excited state of mind. As far as I could tell, no other character ever uses this word. One might say that the word, bujug, identifies Durna as a character. Thus, I have allowed it to remain in the English version, here and throughout the story.

Act 1

144 a fact. Heh...that and that and that and that, just described, needn’t bother you, my young king.31

niku-niku-niku-niku, kålå wau, Padukå mboten perlu menggalihaké, Nggèr Putrå Prabu.

SUYUDANA: Needn’t bother me?

51

DURNA: Exactly. Because this disaster which has befallen the Pandhawas is actually of my own working, my king.

52

Mboten perlu menggalihaké? Hah-inggih. Amargi ngedadosaning pårå kadang Pendhåwå ingkang sami nandhang cintråkå mekaten punikå. Yektosipun, mandar ingkeng Båpå kulå piyambak ingkang damel-damel, Nggèr Putrå Prabu.

[Sulukan ada-ada Mataraman laras sléndro pathet nem]32 DHALANG: 2 3 5 5 5 5 5 5 Tan sa-mar pa-mo-ring suk[s]-må,

1 1 1 1 1 1 1 1 1 1 1 Si-nuk[s]-må-yå wi-nah-yu ing a-sep-i,



2 2 2 2 2 2 2 2 Si-nim-pen te-leng-ing kal-bu,



2 2 2 2 2 212 3 Pam-bu-ka-ning wå-rå- nå,



2 1 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 3 Tar-lèn la-yap li-yep-ing a-lu-yut, É... DHALANG [text translation]: His malice was not hidden, Reincarnated receiving divine sight in loneliness, Stored in the depths of his heart, Sunrise over a wall, Only his drowsiness flees...

SUYUDANA: Hemm...father teacher, father.

31

53

Hemm...Båpå Pendhitå, Båpå.

Durna is describing a curse that has fallen upon the five Pandhawas and the kingdom of Ngamarta (ruled by the eldest, Puntadéwa). The circumstances behind this curse are detailed in another Banyumas wayang story, Srenggini Takon Bapa. 32 Sulukan ada-ada expresses anger or hostility and it is surprisingly early in the performance to suggest such a mood. The text evidently refers to the startling and ominous words of Durna and to his malevolence toward the Pandhawas. To request an ada-ada, Sugino strikes his puppet box (or the kecrèk, hanging metal plates) as follows: L SSSSL L L L L, etc. (the first knock is accented)

Pathet nem DURNA: I await your command, my lord.

54

SUYUDANA: This truly troubles me. It was you that brought disaster to the Pandhawas?

55

145

Kulå nuwun dhawuh pangandikå, Nggèr Putrå Prabu. Sanget andadosaken kegiating raos, punåpå darunanipun cintrakaning kadang Pendhåwå punikå Båpå Pendhitå ingkang damel-damel?

[Srepegan lasem in Solonese style laras sléndro pathet nem]33 56

DURNA: Allow me to say that this all happened through my designs, my king.

Kepareng kulå ngaturaken sedåyå ingkang dados panguneg-uneging batos kulå, Nggèr Putrå Prabu.

[Suwuk] DURNA: My pardons, King Baladéwa, my son.

57

BALADEWA: Please continue, uncle priest, uncle. I myself am also worried. Although I also have heard these tidings of the calamity that has befallen our cousins the Pandhawas, only now am I informed that you, uncle

58

33

Nuwun séwu, Nggèr Putrå Prabu Bålådéwå. Sumånggå dipun ngendikaken, Paman Pendhitå, Paman. Kulå piyambak rumaos kagiating raos. Sinaoså kulå ugi mireng pawartosipun kadang Pendhåwå ingkang sami nandhang cintråkå mekaten kålå

Belonging to the family of compositions known as gendhing lampahan, srepegan are normally performed to indicate puppet movement. Srepegan suggest more rigorous action, such as sudden arrivals or departures, or even battles. Here, Sugino ostensibly cued srepegan to accompany short-tempered Baladéwa as he steps forward to address Durna. However, it might also be that the music is used to suggest the agitated state of mind of King Suyudhana and the others at Durna’s report. Sugino clues srepegan with the following knocks: SL SL SL SL, etc. (long knocks are accented). During the srepegan, Sugino plays a series of long knocks organized as three taps against two beats of the main melody (balungan) – i.e., triplets against duple: L L L L L L L, etc. To request a rapid tempo acceleration, Sugino taps as follows: L L SL, L L (accented short knock). This is followed by a series of knocks similar to that of ada-ada: SSSSL L L L L, etc. To cue a suwuk (end), Sugino again taps L L SL (no accent; right before gong), followed by two more syncopated (that is, off beat) knocks during the final four beats of the main melody.

146

Act 1

teacher, have brought this curse upon the Kingdom of Ngamarta.

wau. Nanging nembé punikå medanget pangandikanipun Paman Pendhitå kalamon kawontenan Pråjå Ngamartå ingkang wonten sukertå mekaten kålå wau punikå damelanipun Paman Pendhitå, Paman!

DURNA: Eh, assuredly, King Baladéwa, my son.

59

SUYUDANA: Please, I invite you to explain what your intentions are in this, father teacher.

60

DURNA: Well, it’s like this... My powers have been focused on the weighty responsiblity entrusted to me: what to do when it is time for the Great War. The Great War will clearly be war between Ngastina and the Pandhawas. This is a fact of destiny. Yet Ngastina must be mightier, the Pandhawas must be overpowered. Though many times, again and again, I have thought and schemed to prevent the Great War, I have not found an answer. Thus, because of that, I turned my thoughts to weakening the Pandhawas.34

61

As for the Pandhawas, their royal palace of Ngamarta has fallen into decadence, overgrown with bush, Puntadéwa has become an ogre,Wrekudara an elephant, Nakula and Sadéwa a pair of twin white forest deer, and young Janaka suffers from a deathly ill

62

34

Eh-inggih, Nggèr Putrå Prabu Bålådéwå. Sumånggå kulå aturi ngendikaken pangangkahipun Båpå Pendhitå, kados pundi? Nah, punikå... Dåyå-dåyå Ingkeng Båpå punikå netepi jejibahan kulå ingkang awrat, badhéå kados pundi ing mbénjang tembé dumugi anciking Bråtåyudå. Bråtåyudå cethå isinipun peperanging Pendhåwå kaliyan Ngastinå, punikå ingkang kanggé jejer. Ing mångkå Ngastinå kedah unggul, Pendhåwå kedah kasoran. Hananging sampun kaping pinten, sampun wolå-wali Keng Båpå pambudidåyå, hangrèkadåyå murih icaling Bråtåyudå, yektos mboten saged. Milå ingkang punikå, NggèrPutrå Prabu, måwå pangiguh pambudidåyå ingkang mekaten kålå wau mbok menawi badhé ngringkihaken Pendhåwå. Menawi Pendhåwå kadaluwarså kraton thukul glagah pengalangalangan, Keng Rayi Puntådéwå dados rasekså, Werkudårå dados gajah, Nakulå-Sadéwå dados såtåalit kancil pethak kembar kalih, Anak Pangèran Janåkå nandhang sakit mådyå sirnå mboten wonten ingkang ngusadani.

Durna is referring here to the final war between the Pandhawas and Kurawas, known as the Bratayuda. His supposed scheme in bringing about disaster to the Pandhawas and thereby weakening them is only one of many attempts to alter its outcome.

Pathet nem

Yektosipun anciking Bråtåyudå dumugi Pendhåwå mboten wonten kekiyatanipun, heh!

ness but there is nothing that cancure him. In fact, when the time for the Great War arrives, the Pandhawas will be powerless, heh! This is what I have brought about, my King. That is why I climbed to a secluded hermitage and, for twenty-one days and twenty-one nights, I did not eat, I did not drink, I tirelessly begged for patronage from the goddess, Durga, who I asked to bring about the state of Pandhawas – I was able to bring it all to pass, able to have what I wanted, heh!35

63

SUYUDANA: That is it, father teacher?

64

DURNA: Indeed, my king.

65

SANGKUNI: Excuse my interruption, venerable brother.36

66

DURNA: Chief Counselor Harya Sangkuni, what is it?

67

SANGKUNI: Uh, I had no idea my venerable brother could do such a thing.

68

DURNA: I can, I can. Indeed, as a priest, I am cherished by the venerated gods.

69

35

147

Dados punikå kulå ingkang damel-damel, Nggèr Putrå Prabu. Karånå Ingkeng Båpå minnggah wontenin sanggar pasepen selikur dinten, selikur dalu, mboten saré, mboten nedhå, dåyå-dåyå nyuwun pengayomanipun Hiwang Bethari [Bathari] Durgå ingkang kulå suwun mekaten kawontenaning Pendhåwå, saged kadumugen, saged kadunugen, saged kasembadan, heh! Mekaten punikå, Båpå Pendhitå. Inggih, Nggèr Putrå Prabu. Nyelå matur sawetawis, Ki Råkå?

Adipati Haryå Sangkuni, kepriyé?

O, mboten nyånå Ki Råkå saged ndamel kawontenan ingkang mekaten. Biså, biså. Pun kakang rak yå Pendhitå kinasihan dènèng sang hyangning pårå déwå.

Here, it becomes clear that these are merely empty boasts. While Durna is occasionally aided by Bathari Durga, Bathara Guru’s sometimes evil consort, she was not involved in these recent events. Durna is indeed implicated – not through his spiritual powers but because of duplicity has set larger forces in motion. The others do not know that Durna has continued to maintain ties with the Pandhawas, his former students. It was his deceitful advice to the trusting 36 Wrekudara (Bima) that started the chain of events bringing about the curse. Sangkuni and Durna are considered to be of the same generation (hence, the term ‘brother’), although Sangkuni uses the formal Javanese word raka (as opposed to the informal kakang) which translates literally as ‘older brother’, thus showing his recognition of Durna’s somewhat higher status. Sangkuni also uses the title ‘venerable’ (from the Javanese word ki) to express his respect Durna’s position as priest. Durna responds with the kin term, adhi: literally, ‘younger brother’.

148

Act 1

SANGKUNI: Can you truly cause a human, like young Wrekudara, to become an elephant?

70

DURNA: Oh yes. Through persuasion, perseverence, and persistence.

71

SANGKUNI: And Prince Janaka to suffer illness?

72

DURNA: It was I who brought it about. Together with my prayers for twenty days and twenty nights.

73

SANGKUNI: You can actually make someone sick?

74

DURNA: I can cause illness and I can cure illness.

75

SANGKUNI: Well, it so happens that my wife has a sore throat and cannot sing, what about it?

76

DURNA: Oh! For those that aren’t loyal to me, it is impossible to expect recovery.

77

SANGKUNI: Venerable brother, venerable brother...Oh!37

78

37

Saged wonten jalmå manungså dipun ciptå dèning Ki Råkå saged dados gajah, inggih Keng Putrå Werkudårå? Hah-iyå. Tatag, tegel, tégå.

Anak Pengèran [Pangèran] Janåkå nadhang sakit? Ingkang gawé iyå aku. Pådhå pamujiné nalikå selikur dinå, selikur wengi iku. Étung-étungané Ki Råkå saged ndamel sesakit? Ng...nggawé sesakit biså, ngrusadani sesakit biså. Nah, keleresan tiyang èstri kulå saweg sakit gulu mboten saged nyekar, pripun? Oh! Yèn ora mélu nyang aku måså arepå méluå mariå, ora.

Ki Råkå, Ki Råkå...oh!

Here, Sugino jokingly refers to one of the musicians whose wife is a pesindhèn (female singer) and unable to attend that performance, allegedly because of a cold. However, it was well known that she also sometimes performed with rival dhalang and this could be the real reason for her absence. The point being made was that disloyalty could result in unemployment. However, this exchange also illustrates the underlying tension between Durna and Sangkuni, two close advisors to the king. The occasional humorous jabs at the priest suggest that, behind his bland politeness, Sangkuni well aware that Durna is not everything he makes himself out to be.

Pathet nem DURNA: Enough of this silliness, brother Juni.38 This is an important and necessary counsel.

79

SANGKUNI: Assuredly.

80

DURNA: Your majesty?

81

SUYUDANA: What is it, father teacher?

82

DURNA: We needn’t concern ourselves over this matter, it is finished, finished. What’s more, let me reveal my thoughts, Son. My children, hear me, King Baladéwa and Lord Basukarna!

83

BASUKARNA: Yes.

84

DURNA: Come, let us gather priests, astrologers, teachers, and ascetics from far and wide, and order them to unite in prayer. May the blessings of the gods pour down upon Ngastina.

85

May the Pandhawas never be able to recover, may they all continue to suffer calamity. Such are my thoughts, my king.

85

149

Wis mbok åjå ngendikå sing oraora, Dhi [Adhi] Cuni [Sangkuni]. Iki rembug kang perlu, wigati. Nuwun inggih. Nggèr Putrå Prabu? Kados pundi, Båpå Pendhitå? Bab perkawis punikå mboten perlu sami menggalihaken, sampun... sampun. Mandar saking pamanggih kulå, Nggèr? Yugå-yugå kulå sumrambahipun Anak Prabu Bålådéwå, Anak Narpati Basukarnå. Nuwun inggih. Månggå sami ngempalaken brahmånå, nujum, ajar pendhitå, resi kapuri manunggal pamintå. Mugiå nugråhå peparing jawåtå saged lumèbèr wontening Ngastinå. Kadang Padukå Pendhåwå sampun ngantos sami wonten ingkang saged ngusadani, luluså anggènipun sami nandhang cintråkå. Mekaten pemanggih Ingkeng Båpå, Nggèr Putrå Prabu.

[Sulukan ada-ada Mataraman laras sléndro pathet nem]39 DHALANG: 6 6 6 6 6 6 6 6 Si-grå bå-lå kang tu-mi-ngal, 38

Durna sometimes calls Sangkuni by the nickname ‘Juni’, perhaps to affirm Sangkuni’s inferior social status more than suggest any real affection or familiarity. 39 This sulukan normally suggests an impending battle. However, it is used here to signal the sudden and disruptive arrival of the very large and supernaturally powerful ogre, Turanggamaya, who forces himself into the audience hall. (See the illustration of this puppet in the appendix.)

Act 1

150



2 2 2 2 2 2 21 1 A- cam-puh sam-yå me-da- li,



1 1 1 1 1 1 1 1 Lir tha-thit wi-let ing gå-då,



2 2 2 2 2 2 2 3 Mun-car-nyå ma-ngun dha ni-ti,



2 1 6̣ 6̣5̣6̣ 1 6̣ 6̣ 3 Mbén-jang sang a- ji mi-jil, é... DHALANG [text translation]: Suddenly an army was visible, Struggling to emerge together, Like lightening a snarl of bludgeons, Sparkled as they were brandished for battle, And then did the great king emerge... É...

DHALANG: Thus, it is told as it was. His majesty King Suyudana wished to continue the discussion but he remained silent, his words yet unspoken. A dove could be heard singing steadily, its voice rising to the crossbeams high above. And the sound of a butterfly softly whispered at the entrance to the audience hall as it fluttered about, flitting to the left and to the right, to and fro, and back again. Suddenly, before the king could speak, there was an uproar at the palace gate. The palace guards and soldiers were swept aside, like grains of winnowed rice. Those in the front were blown like chaff to the back and those in the black blown to the fore. In the midst of the pandemonium among the soldiers and the Kurawas, a giant ogre as big as a house loomed up and pushed his way through to stand before the king.

86

Kocap kacaritå dhuk nalikå semånå. Sri Nårånåtå Prabu Suyudånå keparing imbal wacånå, dèrèng paripunå kapiyarså tuwin kauningan. Kapiyarså wonten kukilå prenjak munyå ngganter-ngganter minggah mring saluhuring tratag rambat, kauningan wonten kupu kekejer ingkang leliweran miber ngananngèring wonten sabdå pangandikå ketungkå gègèring paséban. Sri Nårånåtå dèrèng mbabar sabdå, pangandikå ketungkå gègèring paséban njawi. Pårå wådyå bålå, tamtåmå mindhå gabah dipun interi mak ajeng tepung wingking, mak wingking tepung ajeng. Gègèring pårå tamtåmå tuwin pårå Karåwå wonten rakseså ingkang ageng njenggeleg sagubug ranggon gedhéné. Miyak paséban minggah wontening ngarså nåtå.

Pathet nem

151

[Srepegan lasem in Solonese style laras sléndro pathet nem]40 TURANGGAMAYA: É-é-éh...uh, élah dalah!41

87

TURANGGAMAYA: É-é-é-é-éh. U-u-u-u-uh, élah dalah!

88

É-é-é-é-é-é-é-éh...uh, élah dalah! É-é-é-é-éh. U-u-u-u-uh, élah dalah!

[Continues with Ayak-ayakan in Solonese style laras sléndro pathet nem]42 [Kombangan dhalang]43 Balungan :

.

DHALANG :

5 6 Yek-

·

6 så

6 kru-

6 dhå [kridhå]

Balungan :

·

DHALANG :

6 ka-

Balungan :

·

2

·

1

Balungan :

·

3

·

2

Balungan :

·

6

·

5

DHALANG :

40

5

6

6 gi-

· 6 ri-

5 Geng-

6

6 gi-

5 nya-

5 lir

6 ri

5 pra-

The srepegan here is used to accompany the ogre as he pushes his way through to stand before the king. In this instance the singer break in to interlocking calls to accompany the ogre’s arrogant swagger. 41 The expression, ‘élah dalah’, is an expletive used by ogres and other bellicose characters. 42 The srepegan then segues into ayak-ayakan perhaps to indicate a return to calm following the momentary chaos created by the sudden entrance of the ogre. 43 The kombangan here is a sulukan (more specifically an ada-ada), sung by the dhalang to match cadential pitches of the ayak-ayakan played by the gamelan. As I mentioned earlier, the combination of gamelan music and sulukan is called suluk gendhing in Solo but known as kombangan in Banyumas (see my note to the kombangan dhalang under item 13). What is interesting here is the juxtaposition of an ada-ada with ayak-ayakan. The ayak-ayakan, I believe, indicates a return to relative calm but the ada-ada sung over it by the dhalang suggests the underlying tension and unrest at the presence of the ogre in the audience hall.

Act 1

152 Balungan : DHALANG :

3

2

3

5

5 5 5 5 5 5 5 5 5 5 5 5 bå- tå a- bang ka- we- lah- har ma- ngu- wuh ing

Balungan :

1�

DHALANG : 5 5 mung- suh, Balungan : . DHALANG : [O]...

5

Balungan :

3

6

5

6

3

5

6

5

3

2

2� O...

1�

6

DHALANG: The ogre’s actions, Were awesome to behold, His strength was like a mountain of red lava, And he roared to his enemies...

[Sirep] TURANGGAMAYA: É-é-éh...uh...uh, doom and damnation, death dealing darkening devils of dasteredly deeds, dash and drub!44 É-éh! Don’t be troubled, my Lords, é-ééh. Although I am just a lowly ogre, I have dared to push through your gates to stand in your presence and have audience with you. U-u-u-uh, allow me to tell you why I have come to stand before the king. SUYUDANA: Ogre, pray tell us what your mission is.

44

89

90

91

E-é-é-é-éh...uh...uuh, élah dalah. Bojléng-bojléng, partåkå gelap belis lanat lakuné jlèg-jlègan! E-éh! Sampun andadosaken kegiating panggalih pårå gusti, é-é-éh. Sinaoså kulå titahing déwå ingkang asipat raksekså kamiwantunkulå miyak paséban minggah sowan wonten ngabyantårå. U-u-u-uh, kepareng kulå ngaturaken wigatos kulå sowan wontening ngarså sinuwun? Raksekså, mrayogaknå dhisik sawetårå kang dadi pisowanmu.

The English translation here is only approximate since the Javanese used in this passage is found only in wayang kulit, specifically as an ogre explicative. As with Durna’s characteristic words, the English here is mainly my own creation.

Pathet nem TURANGGAMAYA: U-é-é-é-élah,45 assuredly, as you command.

92

153

U-é-é-é-élah, nuwun inggih ngèstokaken dhawuh.

[Kombangan dhalang: udhar]46 Balungan :

3

2

DHALANG : Balungan DHALANG :

3

3

5

3

5

5 É...

2

[5]

[Suwuk] TURANGGAMAYA: É-é-é-é-éh, my great thanks for allowing me to come and stand before you. U-u-uh, to save time and to get down to bare facts, I’ll mince no words. U-u-uh, my lords probably don’t know who I am.47

93

SUYUDANA: An ogre, yes.

94

TURANGGAMAYA: Yes, that’s me. I rank as a chief counselor, I do.

95

SUYUDANA: Chief counselor?

96

TURANGGAMAYA: Assuredly. I, here, am a chief counselor, I am. The chief counselor of the Kingdom of Jongparang. I am

97

45

E-é-é-é-éh, genging panuwun kulå, kulå kepareng sowan wonten ngabyantårå. U-u-uh, kanggé ngirangi wekdal utawi kanggé nugel gagang, nyingget atur kulå. U-u-uh, mestinipun Padukå sami dèrèng ngertos kaliyan kulå. Rutådenåwå, iyå. Inggih, kulå. Awon-awon kulå niki patih, kulå. Patih? Inggih, kulå niki patih, kulå. Patih saking Negari Jongparang. Kulå ingkeng nami Digyå Tenung

This is another untranslatable expletive often used by ogres and more vulgar characters in wayang kulit. 46 In this kombangan, the dhalang simply sings an appropriate pitch (matching a cadential pitch played by the gamelan) to signal the troupe to return to normal volume (udhar). 47 The ogre’s directness is considered rather rude in the highly formalized etiquette of court style. However, he addresses the king using highly respectful Javanese speech.

154

Act 1

named Tenung Turanggamaya. U-u-uh! Isn’t it fearful, my name? E-e-e-eh! From my kingdom, Jongparang. My lord is the King of Jongparang whose name is King Ajijaya Di-ning-rum. Ha-ha-hah!48

Turånggåmåyå. U-u-uuh! Nåpå [punåpå] mboten ngajrih-ajrih, jeneng kulå ngajrih-ajrihi? Tenung Turånggåmåyå, kulå, é-é-é-éh! Saking negari kulå, Jongparang. Gusti kulå Ratu Jongparang ingkeng jejuluk Prabu A-ji-jå-yå Di-ning-rum. Ha-hahahh!

SUYUDANA: Your lord is King Ajijaya Diningrum?

98

TURANGGAMAYA: Indeed.

99

SUYUDANA: You are called Chief Counselor Tenung Turanggamaya?

100

TURANGGAMAYA: Yes, Tenung Turanggamaya. Haha-hah! Even though I am just an ogre, I am not one to be toyed with, e-e-eh! I inform you that my lord, King Ajijaya Diningrum, has a single child, a son, handsome of mien, named Prince Jatikusuma.

101

SUYUDANA: Pray tell.

102

TURANGGAMAYA: É-éh! At last, I come to the reason for my visit.

103

SUYUDANA: Indeed?

104

TURANGGAMAYA: Oh yes, ha-hah! Pardon me if I am mistaken, but are you the one known as King Suyudana?

105

SUYUDANA: Indeed, I am known as King Suyudana.

106

48

Ratumu Prabu Ajijåyå Diningrum?

Inggih. Kowé kang nami Patih Tenung Turånggåmåyå? Inggih, Tenung Turånggåmåyå. Haha-hahh! Sinaosa kulå butå, nanging butå ingkang mboten kénging dipun gegampil, é-é-éh! Ngaturi prikså bilih gusti kulå Prabu Ajijåyå Diningrum punikå kagungan putrå tunggal kakung, bagus ing warnå, nami Radèn Jatikusumå. Ndadak critå. É-éh! Mangké-mangkènipun wonten gegayutan pakarti kulå sowan mriki. Iyå. Inggih, ha-hahh! Nuwun séwu bilih kulå punikå keslintu, punåpå Padukå ingkang jejuluk Prabu Suyudånå? Iyå. Ingsun kang jejuluk Prabu Suyudånå.

The Kingdom of Jongparang is specific to this particular story. That is, there is no Jongparang or King Ajijaya Diningrum mentioned in the Mahabharata.

Pathet nem TURANGGAMAYA: Yes, how fortunate. And you in the back?

107

SANGKUNI: I am Chief Counselor Harya Sangkuni.

108

TURANGGAMAYA: O, indeed. Ha-ha-hah! Why do you always just grin so and look so sly?49

109

SANGKUNI: Eh, ya-ya, Chief Counselor Tenung Turanggamaya.

110

TURANGGAMAYA: Indeed. And then him, whose person is great, tall, and pale, who is this albino?50

111

BALADEWA: Argh!

112

SUYUDANA: Easy, Brother Baladewa, he’s an ogre.

113

BALADEWA: So he is. What madness!

114

TURANGGAMAYA: Ha-ha-ha-hah! Well, I’m only describing what I know to be real, and in truth your body is white, so I say albino... Haaa... haaa... haaa...

115

BALADEWA: Baladéwa!!

116

TURANGGAMAYA: Indeed. Baladéwa.

117

49

155

Inggih, kaleresan. Niku wingking?

Aku Patih Haryå Sangkuni.

O, inggih. Ha-ha-hahh! Ulaté kok sumèh penjenengan [panjenengan] ing semu badhé mèsem mawon. E, iyå-iyå, Patih Tenung Turånggåmåyå. Inggih. Ha-lajeng niki ingkang sliranipun ageng, inggil, bléngahbléngah, pakulitan bulé, sinten? Wéh! Sampun, Kåkå Prabu Bålådéwå, punika awit rasekså. Inggih. Édan! Ha-ha-ha-hahh! Lha kulå matur niku matur pinanggih nyåtå, yektosipun sliranipun bulé, kulå nggih [inggih] matur bulé... Haaaa...haaaa...haaa... Bålådéwå!! Inggih. Bålådéwå.

As I mentioned before, Sangkuni is widely known to be rather unprincipled with no real loyalties except to himself. He is often described as having a sly grin on his face. 50 Baladéwa is often described as an albino while his brother, Kresna, is black. Like most evil ogres, Turanggamaya is inherently rude and disrespectful. In his insolence, he is likely baiting the quick tempered Baladéwa and the others.

156

Act 1

BALADEWA: Damn you!

118

TURANGGAMAYA: Now don’t be angry with a person seeking truth, hu-hu-hu... And that pretty one, who is that?

119

SUYUDANA: Eh? What pretty one?

120

TURANGGAMAYA: Indeed, looks like a virgin girl. Wearing a beflowered cassock, a sarong, and shiny new shoes--hihi-hi...ha-ha-hah! Probably has blistered feet, ha-ha-hah!51 What a pretty one, who is it?

121

DURNA: Bujug-bujug, watch your manners lest you suffer divine wrath.52

122

TURANGGAMAYA: How’s that?

123

DURNA: Watch your manners lest you suffer divine wrath.

124

TURANGGAMAYA: Oh, indeed. I may suffer divine retribution.

125

DURNA: Yes, as I am a holy priest.

126

TURANGGAMAYA: Oh, a priest, ha-ha-hah! Oh, of course. The royal priest of Ngastina, called Priest Durna?

127

DURNA: Yes-yes-yes. I am Priest Durna.

128

51

Keparat!! Ampun rengu wong tekadé nyåtå, hu-hu-hu... Lajeng, punikå ingkang ayu sinten niki? Lha, kok sing ayu? Inggih, tingalipun taksih kinyiskinyis. Ngagem jubah sekar-sekar, ngagem sarung, sepatuné énggal siji-hihihi...ha-ha-hahh! Jan pådhå lècèt, ha-ha-hahh! Kok ayu temen niki sinten niki? Bujug-bujug, åjå sembrånå ndhak kewalat [kuwalat]. Pripun? Åjå sembrånå ndhak kewalat.

O, nggih. Mundhak kewalat.

Iyå, amargå aku ki [iki] pujånggå. O, pujånggå, ha-ha-hahh! O, inggih. Pujånggå Kraton Ngastinå nåpå ingkang jejuluk Pendhitå Durnå? Iyå-iyå-iyå, aku Pendhitå Durnå.

Here again, the giant is being disrespectful of Durna’s status as the court priest, though his description is accurate. The reference to Durna’s blistered feet is an inside joke between Sugino and one of the musicians who recently bought a pair of shoes. In shadow puppetry, only priests and gods wear shoes. 52 Durna is claiming here that he is protected by powerful gods. Like the others before, he addresses the ogre using a more familiar (and therefore less respectful) form of Javanese speech.

Pathet nem TURANGGAMAYA: Oh, ha-hah! Are you man or woman?53

129

DURNA: What do you mean, am I man or woman?

130

TURANGGAMAYA: Ha-hah! Well, don’t you use red lipstick?

131

DURNA: Hey, watch your manners!

132

TURANGGAMAYA: Ha-ha-hah! Oh, assuredly. From the time I learned to crawl until the day I have a moustache, never have I seen such a wrinkled nose, hu-haha-ha-hah!

133

DURNA: O-o-o-oh! This ogre doesn’t know to still his mouth.54

134

SUYUDANA: Easy, father priest, easy.

135

TURANGGAMAYA: É-é-é-éh! Allow me to explain myself more fully, I have tidings. Are these tidings true or not? Lord Suyudana became king of Ngastina by seizing the kingdom from the Pandhawas, true or not?55

136

SUYUDANA: Uncle Harya Sangkuni, this ogre is tiresome!

137

53

157

O, ha-hahh! Jaler nåpå èstri?

Pendhitå Durnå kok jaler åpå èstri?

Ha-hahh! O, latinipun nganggé béngès abang, ha-ha-hah! Lha, kowé åjå sembrånå! Ha-ha-hahh! O, inggih. Sajeg jumleg wiwit kulå saged mrangkang ngantos dumugi capang. Nembé semerep [sumerep] wonten irung ketekuk, huha-ha-ha-hahh! O-o-o-oh! Iki butå ora ngambah dalan léh [oléhé] nyuwårå. Sampun, Båpå Pendhitå, sampun. E-é-é-éh! Kepareng kulå badhé ndhèrèk nyuwun miterang ingkeng langkung rumiyin, wonten pawartos. Pawartos yektos punåpå mboten? Prabu Suyudånå punikå dados naléndrå wonten Ngastinå nanging negaripun hanggènipun [anggènipun] ngampil kaliyan Pendhåwå, leres punåpå mboten? Paman Haryå Sangkuni, punikå butå kunjånå!

In the Solo and Yogya regions, Durna is considered a powerful and intelligent (albeit misguided) priest, but in Banyumas he is often depicted as a rather pitiful and ridiculous character. The ogre is of course again baiting him. 54 Literally, ‘This ogre doesn’t travel on roads by talking’. 55 The Kurawas are known to have cheated the Pandhawas (specifically, the firstborn Puntadéwa) out of their rightful inheritance to the kingdom of Ngastina.

158

Act 1

SANGKUNI: Let’s keep a cool head. This is an ogre...wah!...beyond comprehension.

138

TURANGGAMAYA: Hu-hu-hu-hu-hu! Oh, indeed, you found out my secret, that’s it. Éé-éh! Well, no matter. Allow me speak of grave matters. I have come here, have I not, Lord? I have said that I am here representing my lord, King Ajijaya Diningrum. My lord has a single child, a young and handsome boy, Prince Jatikusuma, he is called. Day and night Prince Jatikusuma has mooned about, overcome by love and passionately overwhelmed with...a woman of Ngastina by the name of Dèwi Banowati. Ha-ha-hah! Now, if I’m not mistaken, this Dèwi Banowati is your wife, my lord king. Indeed, true? Isn’t it your majesty’s wife who is called Dèwi Banowati? Haha-hah! She is the one that my lord, Prince Jatikusuma, wishes to take as his wife. That is the first matter.

139

The second matter is that the golden royal carriage of Jongparang has no horse. Therefore, the horse to draw the golden royal carriage of Jongparang will be none other than the priest Durna. Thus, my reason for coming is to ask for your wife Banowati to become the wife of my lord, Prince Jatikusuma. And to ask for Priest Durna to become the horse that draws the golden carriage.

140

Ingkang asrep kémawon penggalihipun. Niki butå – wah! – mpun [sampun] mboten baèn-baèn. Hu-hu-hu-hu-hu! O, inggih, sampun miyak wadi niku jenengané. E-é-éh! Nggih, mboten punåpå. Kepareng kulå måtur kewigatosan. Kulå sowan wonten mriki, sinuwun? Kålå wau sampun kulå aturaken kulå dados utusanipun gusti kulå, Prabu Ajijåyå Diningrum. Ingkang gusti kulå punikå kagungan putrå tunggal kakung bagus ing warnå, Radèn Jatikusumå kekasihipun. Siang pantering ratri, Radèn Jatikusumå, punikå tansah ngrungrum, tansah ngleng-leng, gandrung kapirangu kaliyan...wanudyå Ngastinå ingkeng kekasih Dèwi Banowati. Ha-hahahh! Ing mångkå mboten lepat Dèwi Banowati punikå garwå nåtå, garwanipun Padukå Prabu. Inggih leres? Garwå Padukå ingkang nami Dèwi Banowati? Ha-ha-hahh! Niku saweg dipun kajengaken déning gusti kulå Radèn Jatikusumå, badhé dipun pundhut garwå. Punikå sepindah. Ångkå kaping kalih, råtå kencånå Kraton Jongparang punikå turangganipun kirang. Milå ingkang mekaten kanggé jangkep turånggå ngerit råtå [råtå] kencånå Jongparang, punikå pendhitå Ngastinå ingkeng nami pendhitå Durnå. Milå ingkang mekaten punikå sowan kulå wonten mriki, kulå badhé nyuwun garwå penjenengan Banowati, badhé kanggé garwanipun gusti kulå, Radèn Jatikusumå. Lajeng, Pendhitå Durnå badhé kulå suwun kanggé jangkep kudå ngerit råtå kencånå.

Pathet nem

159

[Sulukan ada-ada Girisa in Solonese style laras sléndro pathet nem]56 DHALANG : 5 5 5 5 5 5 5 5 56 6 Dhe-dhep ti-dhem pra-ba-wa-ning ra-tri, 6̣ 1 2 2 2 2 2 6̣ 3-5 3-2 Sa-så-då-rå wus man-jer ka-wur- yan, 2 3 5 5 5 5 5-3 3 Tan ku-ci-wå me-ma-nis- é 2 2 2 21-3 3 35232 2 Meng-ge[p] sri nat- èng nda- lu, \� \2�1�2 \�1�6 6-5 6 6 6 6 6-2 A-glar nèng cå-krå- wå- lå, 1 1 1 1 2 16̣1 1 Wi-nu-let a-nge-la- ngut, 2 2 2 2 2 2 2 2-16̣ 6̣ Pa-ran dé-né pak-så ke-be- gan, 3 3 3 3 3 3 3 3 3 53 5356 2 Sa-king kè-hing ta-rang-gå-nå kang su- mi- wi, 6 1� 2� 2� 2� 2� 2� 2� 2�-1� 2�-3� 2\ �1�2\ �1� 6 Sa-king ka-hing [kèhing] ta-rang-gå-nå kang su- mi- wi, 3�-2�1�2�3�2� O... 2 2 2 2 2 2 2 Wa-rå-tå tån-på se-lå, 1 2 3-235 2 2 2-16̣ 6̣ Wa-rå-tå tan-på se- lå,

56

Here, the sulukan is used to suggest a sudden profound tension following the ogre’s outrageous ‘request’. It also, I believe, depicts the shocked silence that followed the ogre’s words. Note the line in the text of the suluk (in the English translation): ‘Yet he could only be struck speechless’. Musically, the sulukan ends with a loud flourish played on the main melody instruments (saron), what Rasito calls sabetan balungan kréasi [baru] ([newly] composed melodic gesture). It is a recent innovation by Sugino’s troupe and normally not heard in traditional wayang accompaniment.

160

Act 1

gendèr: · 2 · 2 3 5 · 5 6 2̣ 5̣ 2̣ 3̣ 5̣ 1 2 6̣ [Sabetan balungan kréasi]: DHALANG : Balungan: 6 · 5 1� 6

· 5 1� 6

· 5 1� 6

3̣É... 5 3 2 3G

DHALANG [text translation]: Lonely and still was the splendor of the night, The moon seeming to float by, Holding sweet secrets, That could tempt the king at night, A haziness at the horizon, Could be seen far off, Yet he could only be struck speechless, By the multitude of stars there was to behold, By the multitude of stars there was to behold, O... Spreading throughout the sky, Spreading throughout the sky, É... BASUKARNA: Just a moment, my king. Allow me, my brother, to interview this illmannered ogre.57

141

SUYUDANA: King Basukarna, what is it?

142

BASUKARNA: However, perhaps it might be better outside. Tenung Turanggamaya!

143

TURANGGAMAYA: É-é-é-é-éh! And who are you?

144

BASUKARNA: King Basukarna. Follow me outside, come on! Outside, this way!58

145

Mangké rumiyin, Yayi Prabu. Kepareng kulå badhé wawan kåndhå kaliyan denåwå ingkang murang tåtå punikå, Yayi Prabu. Kåkå Prabu Basukarnå, kados pundi? Ning mbok menawi langkung saé wontening njawi kémawon. Tenung Turånggåmåyå! É-é-é-é-éh! Sinten penjenengan? Nåråpati Basukarnå. Medal pasilan ngetut wuri aku mréné, ayo! Metu dhisik mréné!

[Srepegan lasem in Solonese style laras sléndro pathet nem]59 57

Like Baladéwa, Basukarno is known for being quick to anger and he has become extremely annoyed at the ogre’s rude behavior. 58 While the ogre speaks to him using polite speech (krama), Basukarna responds in low Javanese (ngoko).

Pathet nem

161

[Sirep] BASUKARNA: Come on! This way, outside for a moment.

146

TURANGGAMAYA: É-é-é-é-éh! What is this, Lord?

147

SUYUDANA: I cannot yet provide you with a reply to your request. Go confer with my brother, King Basukarna, who awaits you outside.

148

TURANGGAMAYA: Oh, indeed. So I’ve been dismissed; this is fast vexing me.

149

Ayo! Mréné, metu dhisik.

É-é-é-é-éh! Kados pundi Sang Prabu? Ingsun durung biså paring wangsulan marang tembung panyuwunanmu. Temoni kadang wredho Naléndrå Ngastinå, yaiku Kåkå Prabu Basukarnå kang ngersakaké kowé medal pasilan. O, inggih. Sampun dipun parengaken, gègèr mangké kulå.

[Udhar] TURANGGAMAYA: Éh! Éh!

150

Éh! Éh!

[Suwuk] BALADEWA: Damnation, by all the gods and by all the priests, Brother.

151

SUYUDANA: What is it, Brother Baladéwa?

152

BALADEWA: This is outrageous, who would have thought of such a situation like this. He doesn’t realize what he is in for. Cousin Basukarna will

153

59

Wélah dalah jagad yå bathårå yå jagad pramudhitå, Yayi Prabu, Yayi. Kados pundi, Kåkå Prabu Bålådéwå? Walah niki, mboten nyånå-nyånå wonten ngedadosan mekaten punikå, lepat katurangganipun watak wantunipun kadang kulå

The music accompanies the two characters as they leave the audience hall. Almost immediately, the dhalang cues the musicians to play softly (sirep) so that the dialogue can continue.

Act 1

162

Basukarnå ingkang mekaten punikå yektos atur sewantening denåwå punikå nyuduk raos ngilani dhådhå. Upami mboten dipun jak [ajak] medal saking pasilan déning kadang kulå, denåwå badhé kulå jambak rambutipun, badhé larak medal njawi.

take care of that ogre’s big mouth and deflate his puffed-up chest. If he hadn’t been invited outside by my cousin, I would have taken that ogre by the hair and dragged him outside myself.

SUYUDANA: So it shall be, King Baladéwa: my heart will not be satisifed before Tenung Turanggamaya is torn to shreds and scattered throughout Ngastina.

154

BALADEWA: Oh, so be it, brother. As you command, my lord. By your leave, I go outside to await my turn.

155

Ingkang mekaten punikå, Kåkå Prabu Bålådewå, kanthi panyuwun kulå dèrèng manah kulå menawi Tenung Turånggåmåyå dereng dipun juwing-juwing dados sawalang-walang wontening Ngastinå. O, Mekaten, Yayi. Pangèstunipun, Yayi Prabu. Kepareng medal pasilan kulå candaké, kulå mangké.

[Srepegan lasem in Solonese style laras sléndro pathet nem] [Suwuk] DURNA: Bujug...my king, what does all this mean, son?

156

SUYUDANA: Just this: there’s an ill-behaved ogre who is foolishly attempting to stir up trouble in Ngastina.

157

DURNA: Of course. Correct, correct. It was only calculated to upset our counsel. Well, the important thing is to get that trouble-maker out of Ngastina as quickly as possible. Then there was that request for me to become the horse to draw the golden royal carriage of Jongparang. How about that, your Majesty? Would you stand for such

158

Bujug...Nggèr Putrå Prabu, kados pundi, Nggèr? Mekaten punikå, wonten denåwå ingkang murang tåtå. Lepat katurangganipun badhé damel pangontran-ontran wontening Ngastinå. Inggih. Leres, leres. Punikå dipun étang dados panggodaning pirembagan kémawon. Nah, asal ampun ngantos kedangon panggodå ingkang dumunung wontening Kraton Ngastinå. Ha-lajeng, ingkeng Båpå mekaten kålå wau dipun suwun badhé kanggé kudå ngerit råtå kencånå Kraton Jongparang. Padukå kados pundi punåpå badhé

Pathet nem a thing, would you allow it, my king?

158

SUYUDANA: Uncle Harya Sangkuni, what do you think of all that?

159

SANGKUNI: If you’ll pardon my opinion, there is a saying: ‘A touch upon the forehead, a bit of earth’.

160

SUYUDANA: Indeed.

161

SANGKUNI: ‘A bit of earth’ means a piece of land, especially land the size of a kingdom, that people may fight for, sacrificing blood only for its existence.

162

SUYUDANA: True.

163

SANGKUNI: In this way, as well, ‘a touch upon the forehead’ refers to man’s nature in dominating women, in his folly he brings about by bloodshed.

164

SUYUDANA: True.

165

SANGKUNI: Now, though a king must stand by his word, he can also show generosity.

166

SUYUDANA: Show generosity?

167

SANGKUNI: Indeed. Now, in one of these stand firm and in the other be generous. In other words, your wife Banowati should be defended even at the cost of blood. But you can show generosity by granting the request for your venerable father teacher. Just

168

163

tégå, badhé rilå, Nggèr Putrå Prabu, Nggèr? Paman Haryå Sangkuni, kados pundi, Paman? Nuwun-nuwun sèwu menggah pamanggih kulå, wonten pangandikå, ‘Sedumuk bathuk senyari bumi’. Leres. Senyari bumi punikå menungså rebut siti karangan, såyå-såyå siti wiar sanegari wontenipun naming dipun labeti pecahing jåjå luntaking ludirå.

Leres. Mekaten ugi sedumuk bathuk punikå wataking priyå nguasani èstri. Lepat katurangganipun dipun lampahi pecahing jåjå luntaking ludirå. Leres. Lho, nanging padukå nalendrå kedah lenggah wonten pangandikå, bèrbudi båwå leksånå. Bèrbudi båwå leksånå? Inggih. Lha punikå salah setunggal dipun lenggahi, salah setunggal dipun paringaken liripun. Ingkeng garwå Banowati dipun kukuhi, dipun labeti pecahing jåjå luntaking ludirå. Nanging bèrbudi båwå leksånå ugi dipun agem, Ki Råkå Pendhitå dipun

Act 1

164 like that, just hand him over, that’s showing generosity.60

suwun. Lha punikå paringaken kémawon, bèrbudi båwå leksånå niku.

DURNA: Bujug, bujug. Young Juni, don’t be so heartless.

169

SANGKUNI: Eh, just hand him over. That’s what I think, my lord.

170

SUYUDANA: Enough, Uncle Sangkuni and Father Priest. I command all my brother Kurawas: tear Tenung Turanggamaya to shreds!

171

Bujug, bujug. Adhi Cuni, mbok åjå tégå karo aku, Dhi! É, menawi kepareng, yugå kulå, Putrå Prabu. Sampun, Paman Haryå Sangkuni tuwin Båpå Pendhitå. Kulå aturi paring dhawuh dhumateng kadang kulå Kuråwå. Tenung Turånggåmåyå kedah jinuwing-juwing raganipun dados sawalang-walang.

[Srepegan lasem in Solonese style laras sléndro pathet nem] DURNA: By your leave, young Majesty. I’ll order my son, Aswatama, to help in the task.

172

Kawulå nuwun inggih, Nggèr Putrå Prabu. Mangké yugå kulå pun Aswåtåmå kapuri ngrampungi damel.

[Suwuk] [Sulukan pathet nem wantah laras pélog]61 DHALANG :

2-123 21 1 5̣6̣1 3 3 3121 2 Sri na- rén-drå ar-så te- dhak,



2 2 2 2 216̣ 1-212 2 Sa-king te-pak se- så- nå,



3-2121-216̣-5̣-6̣5̣ 3̣ É...



6̣ 1 2 2 2 3 212 2 Nga-gem gam-pa-ran ken-cå- nå,

60

Sangkuni might be joking, yet he is considered pragmatic and even without scruples. Thus, his suggestion might very well be meant in earnest. 61 The sulukan here represents the king’s return to calm after the commotion caused by the ogre. It also signals the end of this scene.

Pathet nem

5 6-565 3 216̣ 12-12 2 Te-ken wu-luh ga- dhing



3-2321216̣5̣ É...



6̣-5̣6̣5̣ 3̣ O...

165

DHALANG: The great king decided to descend from his court, Signalling from his throne, Wearing his sandals of gold, Carrying his staff of ivory, É... O... DHALANG: And thus it happened, those in authority received King Suyudana’s command that Tenung Turanggamaya’s body was to be torn to bits, into hundreds of shreds. Wisemen say that great kings and holy priests cannot take back even a word of what they proclaim. The king was revered by the people of the entire realm. His command was conveyed to all citizens and it spread throughout the kingdom. It was just as is said metaphorically in the phrase: kresna prawita sari. Kresna means black, prawita water, and sari paper--that is, his command spread like ink dripping on blotting paper.

173

Signalling his wish to retire, King Suyudana returned to the inner palace, accompanied by a procession of his female court attendents together with the conveyers of the royal parasol. Seen from afar, the king’s procession swayed, like a thundercloud blown forth by the wind.62

174

62

Lahing kanåtå wau, sampun paripurnå dhawuh Sri Nårånåtå Prabu Suyudånå ingkang pinundhi déning ingkang sami kawogan. Keparengipun sang prabu Tenung Turånggåmåyå kedah jinuwingjuwing rågå dadåså sawalang-walang. Wikå-wiku sabdå pendhitå ratu, pendhitå jalmå winasis saklimah ngendikå tan kepareng wola-wali. Naréndrå pinundhi déning kawulå sanegari, paring dhawuh medhar sabdå thukul dadi rinåtå déning kawulå sanegari. Kalamon cinåndrå mindhå kresnå prawitå sari. Kresna: cemeng, prawita: toya, sari: dlancang yayah mangsi tumètèsing kertas. Jleg tumurun saking tepak [tapak] sesånå Sang Prabu Suyudånå kepareng kondur ngedaton, ginarebeg déning pårå bedhayå sarimpi sesarengan pamboyonging songsong gawat. Dhuk nalikå samånå tindakipun sri Nårånåtå sinawang saking mandrå [mandråwå] gumléyong yayah mendhung ketiuping maruta.

The piece, Ladrang Glèyong, representing the king’s departure from the royal audience hall, is requested by the dhalang through the word, gumléyong (‘to sway’), imbedded in his last sentence.

Act 1

166

[Ladrang Gléyong laras pélog pathet nem] [Kombangan dhalang]63 Balungan

:

2

DHALANG : Balungan

:

6

3

2

1

2 2 2 2 2 2 2 3 U- lun ma-nyem-bah mring Hiwang 5

DHALANG : 2 1 Wi-

3

5

32 dhi

Balungan:

2

2

·

·

Balungan

:

2

3

5

6

Balungan

:

7

6

5

4

Balungan

:

2

1

2

6

DHALANG : Balungan

:

DHALANG :

6 6 6 6 6 6 6 6 6 6 6 6 Sa- gung-ing pu- ji ka-gung-an- ing Gus-ti Kang ·

6

6

6

6 6 6 6 Ma- ha- A- gung

DHALANG: I give my thanks to Lord God, All my praise to His greatness, Lord in His Supreme Majesty,

63

This kombangan is used to signal a musical change from the piece Ladrang Gléyong, in the pélog tuning system, to Ayak-ayakan, in the sléndro tuning system. The change is accomplished by moving through the tone (pitch 6) common to both tuning systems of this gamelan (other gamelan may have pitch 5, or sometimes pitch 2, as the common tone, or tumbuk).

Pathet nem

167

[Continues with Ayak-ayakan in Solonese style laras sléndro pathet nem]64 [Kombangan dhalang]65 Balungan

:

5

6

DHALANG :

3 É...

Balungan

1

:

2

DHALANG :

5

3

3

2

...

DHALANG: É...



[Suwuk] [Sulukan pathet nem jugag laras sléndro] DHALANG : 1 1 1 1 1-2 1 16̣1 1-2 1 Han-jrah ing-kang pus- pi-tå a- rum, 6̣ 1 2 2 2 2 2 2-32 2 Ka-si-li-ring sa-mi-ra-nå mrik, 2 3 2532 2-121 2 2 2 2 216̣16̣ 6̣ Se-kar ga- dhung gan-da-ni-rå ko- ngas, 3 3 2-3 2-121 1 1 1 1-6̣ 6̣-1 Ma-wèh ra- ras ré-na-ning ndri- ya, 2-16̣5̣-6̣5̣3̣5̣3̣ É... DHALANG: The spreading fragrance of a flower, Like a redolent wind, The fragrant perfume of the gadhung flower, Gives harmony, pleasure of the heart... É...

64

Ayak-ayakan here accompanies the king and his retinue as they exit the audience hall.45 This is a standard formulaic passage used by the dhalang to end the first major audience scene and move on to the next scene. 65 This kombangan signals a request for the piece to end (suwuk). Usually, the dhalang requests the end of a piece by knocking on the puppet chest with his cempala (wooden beater).

Act 1

168 DHALANG: And so it happened, King Suyudana retired to the inner palace without pausing at the front hallway, without wishing to gaze at the beautiful ornamentation on the gate. And with the king’s departure to the inner palace, silence prevailed, and what then happened inside is not related.66 A story can move on swiftly because, within it, what is near can recede and what is far can be approached. Thus, in the same story but but a different setting, the narrative continues at a battleground. The face of King Basukarna showed his fury as he con sidered teaching the ogre some mannersfor challenging the authority of Ngastina’s great commander, namely King Basukarna himself. And so it was, King Basukarna was deeply angered.67

175

176

Lahing kanåtå wau, Sri Nårånåtå Prabu Suyudånå kondur ngedaton mboten kepareng pinarak wontening srimanganti, mboten kerså mirsani rerengganing gapura. Sri Nårånåtå ugyå manjing ngedaton lulus raharjå sinigeg mboten kacrita. Gancaring caritå karånå nebihna kang cedhak, nyedakaké kang tebih. Nunggil panggung sanès panggènan ingkang wonten pundi tå punikå ingkang wonten palagan. Ing semu Narpati Basukarnå sanget hang gènipun rengu menggalihaké aturswaraning denåwå denraos kados ngilani jajaning senapati agung Ngastina, yaiku Prabu Basukarnå. Duk nalikå samånå ketingal Prabu Basukarnå muntap sajroning nggalih.

[Sampak in Solonese style laras sléndro pathet nem]68 [Kombangan dhalang] Balungan

:

1

1

DHALANG : Balungan

:

DHALANG : Balungan

:

1� Ku-

2 1� på

1� ku- 6

DHALANG :

1

2 1� me-

1� kus-

1 1� ing

1� du-

2

2

6

6

1� lun, 6 2� O...

DHALANG: The smoke of incense rises to the sky... O... 66

This is a standard formulaic passage used by the dhalang to end the first major audience scene and move on to the next scene. 67 In this passage is another example of reflexivity in wayang kulit. The dhalang tells the audience of the ability of the story-teller to move from one subject to another. 68 Here, Sampak is used to return to the escalating tension as Basukarno and the ogre leave the palace.

Pathet nem TURANGGAMAYA: É-é-é-é-éh...uh!

177

169

É-é-é-é-éh...uh!

[Suwuk] [Sulukan ada-ada greget saut Mataraman laras sléndro pathet nem] DHALANG : 6 6 6 6 6 6 6 6 Dhå-dhå mun-tab lir ki-ne-tab,

2 2 2 2 2 2 2-1 1 Ku-me-jot pa-do-ning la- thi 1 1 1 1 1 1 1 1 1 Né-trå ko-cak ma-ngon-dar an-dir,



6� 1 2 2 2 2 2 2 2 3 Ja-ja-bang ma-wi-ngå wi-ngå we-ngis,



2 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ Pa-sur-yan a-bang mbra-nang lir



6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 3-23 Kem-bang wo-rå wa-ri bang, É...

DHALANG: Angry as [a horse] struck in the belly, His lips twitching at the corners, His bright eyes restless, His chest red with fierce fury, His face crimson, Like the red hibiscus flower... É... TURANGGAMAYA: U-u-u-u-uh, doom and damnation. Hey, why are my hands bound and why am I being dragged along to the battlefield? What do you want with me, King Basukarna? Hu-huhu-hu-hu!

178

BASUKARNA: Now, you hear this, heh! This is Lord Basukarna, King of Ngawangga Tengah, known throughout the realm, one of the

179

U-u-u-u-uh, élah dalah. Lho, kok tanganku dicangklèk digèrèd tekaning palagan, kersané Prabu Basukarnå kepriyé? Hu-hu-hu-hu-hu!

Ngerti kowé nyang aku, héh! Iki Prabu Basukarnå, Naléndrå såkå Ngawånggå Tengah. Ingkang wis dingertèni macapat maring måncå

170

Act 1

legends of Ngastina, fortification of the kingdom, and its champion.

negara. Iki ugå kalebu piyandel Ngastina, bebéténging Negårå Ngastina. Sènapati agung iki.

TURANGGAMAYA: É-é-é-éh! Uh, doom and damnation, King Basukarna.

180

BASUKARNA: What’s your problem? Don’t you know why I’m taking you to the middle of the battlefield?

181

TURANGGAMAYA: É-é-éh! I know your intentions. You’re angry with me just because I asked for Dèwi Banowati, é-é-éh! This Banowati is the wife of King Suyudana, and he’s said nothing, not a word, he doesn’t seem to be upset with me. Yet you’re furious.

182

É-é-é-éh! Uh, élah dalah, Prabu Basukarnå. Apå biabamu (abamu), ngerti kowé tak gåwå samadyaning palagan?

É-é-éh! Kulå ngertos kaliyan kersanipun penjenengan. Penjenengan punikå rengu kalih kulå dumèh kulå nyuwun Dèwi Banowati, é-ééh! Sabab punapa? Banowati punikå garwanipun Prabu Suyudana, Prabu Suyudånå taksih kéndhel amleng, dèrèng ketingal dukå kaliyan kulå. Mandar Prabu Basukarnå ingkang rengu kalih kulå. Sebab punåpå? Sanès garwå penjenengan kulå suwun, mandar penjenengan ingkang nesu. Wé-hé-ha-ha-ha-ha! Basukarnå, Basukarnå.

Why? It’s not your wife that I asked for, yet you’re the one that’s indignant. Wé-hé-ha-ha-ha-ha! Basukarna, Basukarna.

BASUKARNA: I’m not in the least angered because you asked for Dèwi Banowati. Open your ears. What you did was insult the king of Ngastina. As it happens, I am Regent Karna and I carry the authority of Ngastina’s king. The words you spoke challenge the authority of the king’s champion and regent, Karna. Let your actions speak louder than your words.

183

TURANGGAMAYA: É-é-é-é-éh! Uh, doom and damnation. If that’s the way it is, then let’s fight, King Basukarna, u-u-u-u-uh! Better protect your chest, and don’t just advance a step, King Basukarna. Go ahead and attack, I won’t retreat

184

Ora-orané nesuku ki amargå ki nyuwun Dèwi Banowati. Jémbréngan kang åmbå kupingmu yèn ngånå kuwi jeneng kowé nyenyamah lawan ratu Ngastinå. Ing mångkå Dipati Karnå ingkang nyånggå kawibawané ratu Ngastinå. Yèn ngånå kuwi tembungmu mau jeneng niat ngilani mring dhadhaning sènapati agung yå Dipati Karnå. Åjå ming sumbar waé nyatakaké sesumbarmu. É-é-é-é-éh! Uh, élah dalah. Yèn mengkana, ngajak peperangan, Prabu Basukarnå, u-u-u-u-uh! Tamang jaja, åjå mung maju siji, Prabu Basukarnå. Kroyok ora bakal tak unduri setindak. Klakon Basukarnå tak

Pathet nem a single step. You can be sure, Basukarna, that I’ll dash your shattered corpse to the ground.

171

ulung-ulung sabeting pratiwi sumyur kwandamu.

[Sampak in Solonese style laras sléndro pathet nem] BASUKARNA: Stop your idle boasting, do something.

185

TURANGGAMAYA: É-é-é-é-éh! Uh!

186

Åjå ming sumbar nyatakaké.

É-é-é-é-éh! Uh!

[Sounds of battle] [Kendhangan kèjèk]69 [Sounds of battle] [Kombangan dhalang] [Palaran Gambuh]70 69

The term kendhangan kèjèk (´squirming´ or ´writhing´ kendhangan) is Rasito’s own and refers to a particular style of drum playing (along with clapping and calls) to accompany a dancing ogre while the gamelan performs sampak. Usually, as in this case, the ogre is dancing in arrogance since he is undefeatable. The balungan is altered rhythmically to accommodate the dance, and the sampak, normally like this [P = kempul, N = kenong, and G = gong]: P P P P/G P P P P/G N N N N N N N N N N N N N N N N 5 5 5 5P 3 3 3 3G 3 3 3 3P 5 5 5 5P 2 2 2 2G 6 6 6 6P 5 5 5 5G is altered slightly and now looks like this: P P P P P P N N N N N N N N N N N N N N N N 5 5 5 5P 3 · · 3 3 3G

3

3

3

3P



2

2

2

2G



6

6

6

6

70

5

5

5 5P

5

5

5 5G

The text translates as follows: Suddenly and vigorously he tucked up his sash,

Act 1

172

[Sirep]71 DHALANG: Completely surrounded, immersed in danger, Tenung Turanggamaya stood in the middle of Ngastina’s battleground, his mouth agape. Countless soldiers as well as the many Kurawa brothers waited, ready to attackhim. Then there was a sound in the middle of the battlefield. Tenung Turanggamaya seemed not at all frightened, only glancing cautiously to the left and right, and King Basukarna paused, for great supernatural forces seemed about to emerge from Tenung Turanggamaya.

187

Kinepung wakul binayå mangap Tenung Turånggåmåyå wonten samadyaning palagan Ngastinå. Pårå tamtåmå tuwin pårå Kuråwå samektå ing damel badhé ngroyok Tenung Turånggåmåyå. Nalikå samånå ingkang ketingal suwanten samadyaning palagan. Narapati Basukarnå, parandéné Tenung Turånggåmåyå ing semu mboten jirih aming waspådå tansah mlirik nganan-ngering, kandheg. Tenung Turånggåmåyå ing semu badhé ngedalaken kesudibyan.

[Kombangan dhalang] DHALANG : 2 É...

[Udhar: Continues with palaran Gambuh] [Srepegan in Solonese style laras sléndro pathet nem] [Suwuk] TURANGGAMAYA: É-é-é-é-éh! King Basukarna, you’re obviously quite quick and agile.

188

BASUKARNA: What’s it to you?

189

71

box.

É-é-é-é-éh! Prabu Basukarnå, ing semu sengkud cukat trampil trengginas. Apå biabamu?

Aiming his spear and attacking eagerly, Seizing his chest his shoulders truly burning, Roaring as he died, Roaring he sought death. Sirep is initiated immediately after the palaran begins with a single knock on the puppet

Pathet nem TURANGGAMAYA: So, what do you really want with me, King Basukarna?

190

BASUKARNA: I won’t be satisfied until I thoroughly thrash you.

191

TURANGGAMAYA: U-u-u-u-uh, doom and damnation! If you can thrash me, I’ll make the sembah in circles all around you, King Basukarna, u-u-uh! Wait another moment and see if you’re strong enough to take the powerof my eyes when it shines on your body. If you are, I’ll make the sembah in circles around you, é-é-é-éh!72

192

173

Sejatiné kersané Prabu Basukarnå?

Durung marem yèn aku durung biså ngrangkèt kowé. U-u-u-u-uh, élah dalah! Biså ngrangkèt aku tak sembah ubeng-ubengan, Prabu Basukarnå, u-u-uh! Entèni Sawetara, kuwat nampani dayaning mripatku kang sumorot mring ragamu. Sidå kelakon aku nyembah ider-ideran lawan Prabu Basukarnå, é-é-é-éh!

[Sampak in Solonese style laras sléndro pathet nem] BASUKARNA: Make your actions speak louder than your idle boasts!

193

TURANGGAMAYA: É-é-é-é-éh! Éh!

194

Åjå ming sumbar nyatakaké sesumbarmu. É-é-é-é-éh! Éh!

[Sounds of battle] [Kendhangan kèjèk]73 72

Obeisance made by holding the open hands together, as in prayer, and bringing them toward the one’s face with thumbs pointing toward the nose. 73 Here again, kendhangan kèjèk accompanies the dancing ogre while the gamelan performs sampak. The dance is extended this time and the sampak is altered more radically: P P P P/G P P P P/G N N N N N N N N N N N N N N N N Saron A : · 5 · 5 · 5 · 5P · 3 · 3 · 3 · 3 Saron B : 5 5 5 5 3 5 · 5 · 5 · Saron A : Saron B :

· 3 · 3 · 3 · 3P 5 · 5 · 5 · 5 ·

Saron A : · 2 · Saron B : 3 · 3 Saron A/B : · 6 6 Saron A/B : · 5 · Saron A/B : · 3 ·

2 · · 5

· · · · . 3 1

2 2 6 5

2 2 6 · . · 1

· 5 · 5 · 5 · 5 6 · 6 · 6 · 6 ·

2P 2 · 5

·555 · 555 5 · 5 · · 3 · 3 · 3 · 3G

·

· 5 · 5 · 5 · 5 [continues as usual]

Act 1

174

[Sounds of battle] BASUKARNA: A...dhuh!74

195

A...dhuh!

[Suwuk] [Sulukan ada-ada Mataraman laras sléndro pathet nem] DHALANG : 6 6 6 6 6 6 6 6 6 Yek-så kru-dhå ka-gi-ri-gi-ri,

2 2 2 2 2-1 1 1 1 Geng-nyå lir prå-bå- tå a-bang,



1 1 1 1 1 1 1 1 1 1 Ka-we-la-har ma-ngu-muh- [wuh-] ing mung-suh



2 2 2 2-16 6 3 Sru si-ngå nab- då, É...

DHALANG: The ogre’s actions were frightening to behold, His strength like a mountain of red lava, Roaring to his enemies, Loud as the challenge of a lion... É... BALADEWA: Wah, damn him, Brother Basukarna.

196

BASUKARNA: This is gravely shocking, Lord. Tenung Turanggamaya has great supernatural powers. His eyes become larger and they emit an incredible heat. I couldn’t escape without him scorching my clothes and flesh.

197

Wah, keparat, Yayi Prabu Basukarnå.

Mboten nyånå sanget, Kåkå Prabu. Tenung Turånggåmåyå gadhah kadigdayan. Mripatipun sengsåyå wiar, semorotipun måwå dåyå benter pitung putungan. Kulå mboten ngoncati kelampah geseng busånå kulå saged dumugi ing daging pakulitan kulå, Kåkå Prabu.

This particular dance is extremely effective with Sugino’s audiences. The combined effect of the drumming, the syncopated balungan, and the various calls both excites and amuses audience members. The offbeat pitch 1 (in the last line, above) never ceases to surprise them and they often whistle and cheer with approval. 74 Basukarna’s scream here signals his humiliating defeat.

Pathet nem BALADEWA: In that case, better move back, brother. I’ll deal with him in the way Lord Suyudana wishes. This ogre must be torn to shreds. The body, bones, flesh, skin of Tenung Turanggamaya all will be crushed to bits when I smash him with Rajananggala.75

198

175

Beciké yèn kåyå ngånå, si Adhi mundur. Jumbuh lawan ingkeng dadi kersané Yayi Prabu Suyudånå. Iki butå kudu dijuwing-juwing dadyå sawalang-walang. Biså dadi sawalang-walang wrågå, balung, daging, pakulitaning Tenung Turånggåmåyå, yèn wis tak rojoh-rojoh kalawan Råjånenggålå.

[Sampak in Solonese style laras sléndro pathet nem] [Kombangan dhalang [Palaran Sinom]76 [Sirep]77 [Srepegan lasem in Solonese style laras sléndro pathet nem] DHALANG: His heart pounding and his hand trembling, King Baladéwa grasped Kyai Rajananggala.78 When he threw it, the spear flew from his hands directly toward the ogre. However, Tenung Turanggamaya possessed supernaturally tough skin and steel bones. Nothing could harm him, not even the sharpest blades could pierce him or the heavi 75

199

Geter-geter Prabu Bålådéwå astå geter ngastå Kyai Råjånenggålå. Pari purnaning kerså Prabu Bålådéwå unclang Rajanenggålå lepas saking astå njujuk mring raganing Rakseksa. Mila-milå raksekså Tenung Tenung Turånggåmåyå padha-pådhå raksekså kadigdayan kandel kulité, atos balungé. Tan tedhak tuwuhing

Baladéwa’s supernaturally powerful weapon, usually shown as a spear. The text translates approximately as follows: Suddenly an army was visible, Struggling to emerge together, Like lightening a snarl of bludgeons, Commanded by a great supernatural being, And then did the great king emerge, From his lips came forth the words, Wipe out the godly soldiers, Like raging ogres and lions, Surely his wrath spreads danger. 77 The group did not receive a cue to sirep (usually a single sharp rap on the puppet box with the cempala) here, near the finish of the palaran before going on with srepegan, and they began to play softly only after hearing the dhalang begin his narration. 78 Supernaturally powerful objects, such as Baladéwa’s magical spear, are often given titles, such as Kyai (‘venerable’), since they are thought to hold spirits. 76

Act 1

176 est boulder scratch him. Rajananggala struck the ogre without leaving a mark, like cotton striking iron. The powerful ogre then seized the weapon with his hands while King Baladéwa retreated from the battlefield.

tapak paluning pandhé, sisaning gréndå tan tedhas maring bråjå lungid. Tumapaking Rajanenggålå wonten daging-kuliting raksekså mboten tedhas. Kados kapuk tumibo ing wesi. Nalikå samånå, cinandhak déning astaning rasekså. Prabu Bålådéwå mundur saking palagan.

[Udhar: Sampak in Solonese style laras sléndro pathet nem]79 BALADEWA: Woa! Damn you! You’ll be smashed to bits by Rajanangala. Your neck’ll snap, when Rajananggala reaches you!

200

Woa! Keparat! Klakon rojoh-rojoh, Råjånenggålå. Tatas janggamu diRåjånenggålå.

[Throws weapon at Turanggamaya] [Sounds of battle] TURANGGAMAYA: [Struck by weapon] Uh, ha-ha! É-éé-é-é-éh! Uh, éh!

201

Uh, ha-ha! É-é-é-é-é-éh! Uh, eh!

[Kendhangan kèjèk]80 [Suwuk] BALADEWA: Wadhuh! Uncle Harya Sangkuni, what a disaster, uncle. It can’t be possible, but Rajananggala didn’t even scratch that incredible ogre, uncle. I’m greatly mortified, uncle. I’m cursed by mishap, uncle Harya Sangkuni, uncle.

202

SANGKUNI: Oh yes, Lord Baladéwa. This turn of events is truly evil. Rajananggala

203

79

Wadhuh! Paman Haryå Sangkuni, kabilahèn, Paman. Mboten nyånå sanget Rajanenggålå ngantos mboten nedhasi tandhå butå ingkang mboten sabaénipun, Paman. Wadhuh, wirang ageng kulå, Paman, Apes cilåkå kulå, Paman Haryå Sangkuni, Man. Oh inggih, Nggèr Putrå Prabu Bålådéwå. Walah punikå élok sanget.

As in this recording, Sugino often accompanies the action of a flying spear with a whooshing sounding, made by blowing into the microphone. This is particularly effective in live performances since his amplification system is very powerful and the sound booms out into the audience. 80 See my note to the kendhangan kèjèk under item 186. Here, the ogre briefly dances in his glee and arrogance after Baladéwa’s weapon strikes him without effect.

Pathet nem was like cotton falling on steel, it didn’t leave a scratch.

177

Råjånenggålå kok kados kapuk dhawah wonten ing tosan. Éh, mboten nedhasi. 204

BALADEWA: It was tossed somewhere behind me, returned. I’m humiliated, Uncle. Permit me to return to Mandura. I don’t want to mix in these matters. I’m mortified.

Dipun unclang dhawah wonten wingking kulå. Punikå jimat wangsulaken. Lingsem kulå, Paman. Kepareng kulå wangsul wonten ing Madurå. Kulå mboten badhé cawécawé bab punikå. Lingsem manah kulå.

[Sampak in Solonese style laras sléndro pathet nem] [Suwuk] DURNA: Bujug! Brother Juni, what will we do now, Brother? My own child Aswatama and the Kurawa brothers all scattered in fear and panic. Who’s going to help me, brother counselor?81

205

SANGKUNI: Relax, just submit, venerable brother, submit. Eh, why sure, just persevere. Not every priest is asked to draw a golden carriage. Why, not a one, other than you.

206

TURANGGAMAYA: É-é-éh! Priest Durna, don’t be foolish, don’t jump to conclusions. You’ll have it nice in Jongparang. Your only job will be to pull the golden carriage. Your meals will be complete. A new stable has been prepared just for you, with freshcut grass and hay, and soft rice chaff. É-é-é-éh!

207

DURNA: Bujug, counselor, counselor!

208

81

Bujug! Adhi Cuni, kapriyé, Dhi! Putraku Aswåtåmå lan Kuråwå bubar, mawut jirih ajrih ingkang bakal tetulung marang aku såpå, Adhi Patih?

Mpun. Manut mawon, Ki Råkå, manut. Eh, lha-inggih, dipun tekadaken. Mboten saben pendhitå kapurih ngerit kretå kencånå. Niku, menawi sanès Ki Råkå, mboten wonten. É-é-éh! Pendhitå Durna, åjå gimir, åjå mingis. Bakal dikepénakaké aning [aneng] Negårå Jongparang. Pegawéané [pagawéané] amung ngerit råtå [réta/kréta] kencånå. Dhaharanmu lengkap-lengkip. Wis disediani gedhogan anyar, wis disediani dhaharanmu suket kang enom-enom, teki kang enom-enom, dhedhek kang lembut. É-é-é-éh! Bujug, Adhi Patih, Adhi Patih.

Durna is referring to Sangkuni by his title as counselor.

Act 1

178

209

DHALANG: Then the ogre swooped down on Priest Durna, snatching him and carrying him up into the sky.

Nalikå samånå, rasekså nyamber Pendhitå Durnå, kabektå napak ing dirgantårå.

[Sampak in Solonese style laras sléndro pathet nem] DURNA: Bujug!

210

TURANGGAMAYA: É-é-é-é-éh!

211

SANGKUNI: Oh, venerable brother, venerable brother!

212

DURNA: Bujug!

213

TURANGGAMAYA: É-é-éh! Enough, don’t wail, Priest Durna.

214

Bujug! É-é-é-é-éh! O, Ki Råkå, Ki Råkå!

Bujug! É-é-éh! Wis, åjå sesambat, Pendhitå Durnå.

[Suwuk] ASWATAMA: Adhuh, Pa. Adhuh, Pa. What can I do, Pa?

215

SANGKUNI: Hush now, Aswatama. Your father has become an accepted “priest.” Did you hear, Aswatama, my son?

216

ASWATAMA: What do you mean, father counselor?

217

SANGKUNI: Your father has been provided a new stable at the palace of Jongparang. His food is most unusual: fresh chaff and grass, and soft hay. Don’t you worry. Your father will be well cared for.

218

Adhuh, Pak. Adhuh, Pak. Kulå ingkeng putrå Aswatåmå, dos [kados] pundi, Pak? Wis meneng kowé, Aswåtåmå. Sepuluh-puluh bapakmu lagyå dadi pendhitå ketrimå. Kaé mau kowé mireng, Kulup Aswåtåmå. Dos pundi, Råmå Patih, Råmå?

Bapakmu wis disediani gedhogan anyar ing Kraton Jongparang. Dhaharané ora baén-baén. Suket teki kang enom-enom, dhedhek kang lembut-lembut. Åjå kowé kemlåmå? [kumlåmå?]. Bapakmu, ki bakal dikepénakaké.

Pathet nem ASWATAMA: Adhuh, counselor, what has happened to my father?

219

SANGKUNI: In the uproar your father has been carried aloft. Strange, they’re heading north, that means they’ll enter the women’s quarters, Aswatama, my son. Eh, you poor child.

220

179

Adhuh, Råmå Patih, dos pundi bapak kulå, Råmå? Gègèr iki bapakmu disamber, digåwå mabur ning[nyang] dirgantårå. Lho, kok njujuk marang ngulon prapasé, iki tandhå bakal mlebu neng jatulåyå, Nggèr Aswåtåmå. Éh, kowé cilåkå.

[Sampak in Solonese style laras sléndro pathet nem] [Suwuk] [Sulukan ada-ada Mataraman laras sléndro pathet nem] DHALANG :

6 6 6 6 6 6 6 6 Si-grå bå-lå kang tu-mi-ngal,



2 2 2 2 2 2 2-1 1 A-cam-puh sa-myå me-da- li,



1 1 1 1 1 1 1 1 Lir tha-thit wi-let-ing gå-då,



2 2 2 2 2 2 2 3 Mun-car-nyå ma-ngun-dhå ni-ti,



2 2 1 1 1 6̣ 6̣ 3 Mbén-jang sang a-ji mi-jil, É...

DHALANG : Suddenly an army was visible, Struggling to emerge together, Like lightening the snarl of bludgeons, Sparkled as they were brandished for battle, And then the great king emerged... É... DHALANG: Indeed, the ogre flew through the air, looking this way and that way, circling like a bird in a daze, like a revolving wheel, as high as the women’s quarters of the Nastina palace. With complete accuracy, he swooped from the heavens through the pleasure gardens and right into the women’s quarters. Thus, the ogre delegate from the kingdom of

221

Sayekti, rasekså napaking dirgantårå. Malang-miling kadyå jangkung mubeng kenges, kadyå jantrå wonten saluhuring jatulåyå Kraton Ngastinå. Mboten lepat niup saking dirgantårå anjog wontening taman lelangen manjing, wonten sajroning jatulåyå. Milå-milå denåwå dutå saking Negari Jongparang digdåyå sekti

Act 1

180 Jongparang entered the inner depths of the women’s quarters. He boldly snatched Queen Banowati, carried her up to the heavens, and flew back to Jongparang.

mandrugunå lumebet wonten sajroning jatulåyå. Kusumå Ratu Banowati tinubruk wantun kabektå napak dirgantårå wangsul wontening Pråjå Jongparang.

[Sampak in Solonese style laras sléndro pathet nem] BANOWATI: Mercy, mercy, mercy! Ogre, ogre!

222

TURANGGAMAYA: É-é-é-é-éh! Uh, doom and damnation! Uh, doom and damnation!

223

BANOWATI: Take me back! Who are you, who? Take me back, take me back!

224

Tobat, tobat, tobat! Butå, Buta! É-é-é-é-éh! Uh, élah dalah! Uh, élah dalah!

Aku balèkaké! Såpå kowé, såpå? Aku balèkaké, aku balèkaké!

[Suwuk] [Sulukan sendhon Tlutur laras sléndro pathet nem]82 DHALANG : 2� 1� 1� 1� 1� 1� 1� 1� 6-1� O... pu-nå-på tå mi-rah ing- sun, 2�-1�6 5 5 5 5 5 2315 5 5 O... pri-ya-tin was-på gung mi-jil, 1�2�-1\ �656 2 2 2 2 2 2 21 2 O... tu-hu da-hat tan-på kar-yå, 5 5 5 5 5 5 5 5 Seng-kang ri-ne-met-ing gus-ti, 3 5 3 35 2 216̣ 3 5-3 2-16̣ Ge- lung ri-nu- sak se- kar-nyå, O... 3 3 \ 3-232 3 3 35 3 35 6 Su-ma-wur gam-bir me-la- thi [mlathi], O... DHALANG: O... why am I so red, O... great tears of grief emerge, O... truly without purpose am I, Deprived and oppressed by my lord, 82

Sulukan sendhon evoke a melancholy or sometimes erotic mood, but sendhon tlutur represents grief or sadness. This one underscores the calamity that has fallen over Banowati.

Pathet nem

181

My hair in disarray and its adornment, Scattered blossoms of jasmine... O... TURANGGAMAYA: É-é-éh...uh...uh, doom and damnation, death dealing darkening devils of evil deeds, dash and drub! É-é-é-é-é-é-éh! Queen Banowati?

225

BANOWATI: Just who are you, ogre? How dare you enter the women’s quarters, snatch me up and carry me to the sky. Where do you intend to take me, ogre? Just take me right back, take me back, ogre!

226

TURANGGAMAYA: É-é-é-é-éh! Do not ask to be returned. I’m taking you, your highness, to where it will be pleasant and comfortable for you. Then, after you meet Lord Prince Jatikusuma, you won’t think about King Suyudana. You’ll receive a new husband, someone still young, in exchange for someone old. É-é-ééh! Uh, doom and damnation!

227

DURNA: Bujug! Ogre, take me back, ogre!

228

TURANGGAMAYA: Father Durna, easy. Don’t weep, don’t complain, I’ll make it nice for you. Young grass and leaves. U-u-u-uh! Who doesn’t like young things? É-é-éh! Uh, doom and damnation!

229

ANOWATI: How dare you speak like that, ogre. Take me back! Take me back! Take me back!

230

É-é-é-éh! Uh, élah, dalah! Bojléngbojléng partåkå gelap-belis lanat lakuné! Jlèg-jlègan! É-é-é-é-é-é-éh! Gusti Dèwi Kusumå Banowati? Såpå tå kowé butå? Kok wani-wani kowé mlebu marang jatulåyå? Aku kok gondhol, kok gåwå napaking dirgantårå. Aku bakal kok gåwå ngendi, butå? Mbok aku ndang balèkaké, aku ndang balèkaké, butå! É-é-é-é-éh! Sampun Padukå mundhut kawangsulaken. Kulå mbektå Padukå Kusumå Dèwi badhé kulå sekécakaken, badhé kulå senengaken penjenengan, é-é-éh! Mangké menawi sampun pinanggih kaliyan Gusti Radèn Jatikusumå, panjenengan mboten badhé énget kaliyan Kang Råkå Prabu Suyudånå, badhé pikanthuk ganthos ingkang énggal, ingkang taksih enèm. É-é-é-éh! Uh, élah dalah! Bujug! Butå, aku balèkaké, butå! Båpå Durnå, wis åjå nangis, åjå ngresulå, bakal dikepénakaké. Suket, réndéng enom-enom. U-u-u-uh! Såpå sing ora seneng barang enom? É-é-éh! Uh, élah dalah!

Lho, kowé butå kok sagelemmu dhéwé léhmu kåndhå. Aku balèkaké! Aku balèkaké! Aku balekaké, balèkaké!

Act 1

182

[Srepegan Lasem Mataraman laras sléndro pathet nem] [Suwuk] [Sulukan ada-ada Yogyan laras sléndro pathet nem] DHALANG :





6 6 6 6 6 6 65 5-35 5 35 2�-3�1�2�1�6 Ma-pan nèng sa-ma-dya-ning nga- lå-gå, O...

2 3 5 5 5 5 3 3 1-26̣3 3 3 3 3 Pok-sur tam-bur su-ling pe-pan-dhèn dèn-ga-lu-dhag, \�2�\ 2 2 2 2 2 2 2 2 26 6 622 2� 6-565 Ben-dé-rå [bendårå] mé-wah [miwah] ke-kån-dhå war-nå-war- nå,



6 1� 2� 2� 2� 2� 2� Mi-jil sa-jro-ning prå-jå,



\ 2 3 3 3 3 3 3 3 3 3-53 3 Pin-dhå ja-la-di-yan a-sri ka- wur-yan, DHALANG: Emerging within the kingdom, Settling in the middle of a battle, Drums and flutes sounded and lances clashed, Flags and banners of all colors, Looked like an ocean splendor... É... O...

[Closes with sabetan balungan kréasi] Balungan

:·225

DHALANG Balungan

: \5 É... :·· 21

DHALANG

:

2356

6532 \ 5

3

3

2

3 2 1 6̣ 6̣ O...

PUTRA KURAWA83: What’s to be done, Uncle Harya Sangkuni, uncle?

83

1263

231

Kados pundi, Paman Haryå Sangkuni, Man?

‘Putra Kurawa’ is simply an unnamed lesser character, most likely one of the many (ninetynine, to be exact) Kurawa sons.

Pathet nem CITRAKSI84: U-u-u-u-uncle, w-w-w-what’s t-tt-to b-b-b-be d-d-d-d-done, Uncle Harya Sangkuni, uncle?

232

PUTRA KURAWA: What’s to be done, uncle? Banowati has been snatched away and our priest has been carried off by that damned Tenung Turanggamaya.

233

SANGKUNI: ‘Nough-enough-enough-enough, enough. You all showed up only after the ogre left Ngastina. Before, when the ogre rampaged, you ran off, scattering like excited moths in a butterfly net all trying to escape.85

234

CITRAKSI: I’m n-n-n-n-not afraid.

235

SANGKUNI: Quiet! Enough, quiet! You’re not afraid when the enemy’s no longer around; if there’s an enemy, you’re all afraid. Enough now, child, my son.

236

PUTRA KURAWA: F-forgive me, f-forgive me, forgive me, forgive me, forgive me!

237

SANGKUNI: This is clearly a disasterous situation. Your uncle, the priest, was taken, your sister-in-law, Banowati was taken.

238

CITRAKSI: Let me ch-ch-ch-chase th-th-th-thth-th, chase them.

239

84

183

Ngan, ng-ng-ng-ng-ngen n-nomnomi, Man Haryå Sangkuni, Man? [Paman, dos pundi, Man Haryå Sangkuni, Man?] Kados pundi, Paman? Lha punikå Kang Mbok Banowati dipun gondhol, Paman Pendhitå dipun gondhol miber déning si keparat Tenung Turånggåmåyå. Wis-uwis-uwis-uwis, uwis. Pådhå katon mencungul sawisé butå lungå såkå ing Ngastinå. Mau butå lagyå ngamuk kowé pådhå pating blekecit, lungå nggendring mawut kåyå lembing kenå ing tempaling pådhå nggolèti [nggolèki] pesingidan. Ku-k-k-k-kulå wantun. Brisik! Uwis, brisik! Wantunå wantun wis ora ånå mungsuh, nalikå ånå mungsuh pådhå ora wani. Wis tå, Nggèr, putraku Kuråwå.

N-nuwun kulå, nuwun kulå, nuwun kulå, nuwun kulå, nuwun kulå! Ngedadian [kedadian] cethå kabilahèn. Pamanmu pendhitå digåwå, mbakyumu Banowati digåwå. Kajengipun, k-k-ké-ké-tut-tut-tut-tut, t-tut...tuti...t-t-t-tututi...kulå tututi.

Citraksi is one of the better known Kurawa sons, characterized by his stuttering speech. Sangkuni is alluding to a battle that apparently took place off-screen. This may be a reference to a battle scene normally performed at this point in Solonese style wayang kulit. This battle scene is known as perang ampyak and involves an army either removing an obstacle from a road during a march to battle or, less commonly, engaged in a large-scale battle with an ogre or demon. 85

Act 1

184 SANGKUNI: Oh Citraksi, Citraksi. When you speak, even before you finish I get caught up with your breathing.

240

PUTRA KURAWA: Come. Let us speak with the king, and learn what he commands.

241

SANGKUNI: Now that’s the right idea. What we need to do now is to prepare a report of what transpired here, or else it’ll soon be too late and then what, actually? Well, it’s clear that we’ll soon learn the wrath of your brother the king.

242

O, Citraksi, Cra...traksi [Citraksi]. yèn omong, ki ora tekan-tekan mélu napas aku. Sampun, månggå énggal dipun aturaken kaliyan Kåkå Prabu, kados pundi dhawuhipun Kåkå Prabu Suyudånå. Lha kuwi bener. Saiki sing perlu atur palapuran ånå ngedadian sing kåyå ngéné, yèn mengko nganti kedaluwarså kepriyé tundone? Ning ingkang cethå kowé lan aku methi [mesthi] bakal kadukanan déning kangmasmu Prabu.

[Srepegan Tegalan laras sléndro pathet nem]86 PUTRA KURAWA: Waa...haa..haa..true, let us report to King Suyudana. Let’s go, uncle!

243

Waa...haaa...haa...inggih månggå atur Kakang Prabu Suyudånå, nggå Man!

[Suwuk] [Sulukan pathet lasem Mataraman laras sléndro pathet nem] DHALANG : 6 6 6 6 6 5 356 Myat la-ngen-ing pa-mi-yat, 2 2 2 2 2 2 2 1 216̣ Bu-så-nå ma-né-kå war-nå-å, 2 3-5 5 5 5 5-6 6, Ri-neng-gå ing ken-cå- nå, 5 5 5 5 5-6532323 2 Sang a-ret-nå åmbrå,

86

Rasito informed me that he appropriated this srepegan when he lived in the northcoast region of Tegal. Unlike the other srepegan, which are initiated with the drum, this has a saron buka (introduction).

Pathet nem

185

3 5 6 6 6 6 6 6-53 2353532 Ben-dé-rå la-yur kang ku-mi- tir, 6̣ 2 3 3-5 2 2 1-2 1-6̣ Sing krang-kang dres-ing ma-ru- tå, 6-61� 1� 2�-3�2�1�2�-1�6 5 5 5 53 23 Sir- nå O... ku-ma-ra-ning tyas, 1� 2�-1�6 2�3�2�-1�6 2 2 2 2 2-1 1 216̣ Mang-kyan O... ku-mé-lab-ing dwå- jå-å, 2 3-5 3-5 2 2 2 2 2-1 1-216̣ Su-bras-tå ka-yu pang ke-pra- pal, 2 2 2 2 3 5-3532 1 Pus-pi-tå pan-jrah ing si-

65 ti,

2 2 2 2 2 16̣1 1 1-2 Ron ma-wur kang ka-ti- yup-ing, 2-3 3 2 2 2 2 2 2 1-216̣ 6̣ 6̣ A- ngin ku-ki-lå am-byar su-me- bar, O... DHALANG: Seeing was the pleasure of the viewer, Raiments of every color, Ornamented with gold, Scattered with jewels, Flags fluttered like sails, Pitched by the force of the wind, Gone... O... the child of emotions, Later... O... an undulating banner, No more... a tree branch broken off, Flowers all over the ground, Rose petals scattered by the breeze, Birds scattering in the wind... O... DHALANG: Free, Tenung Turanggamaya travelled through the sky, as if traversing a land lost among blue clouds of billowing mist. Although he was an ogre, he had supernatural speed and could move like a bolt of lightening. As quick as a flash, he left the kingdom of Ngastina far behind and arrived at the border of the land of Jongparang.

244

Lepas Tenung Turånggåmåyå napaking dirgantårå kados ing daratan silem mégå biru lumusuping himå-himantåkå. Senadyan tå denåwå andarbé kadigdayan kesit kadyå thathit sasering kilat nilar Pråjå Ngastinå anjog wonten tapel watasing Negari Jongparang.

Act 1

186 The story stops here but continues in a different setting.87 Where did it take place? In the palace of Jongparang. The king of Jongparang was a creature of God in the form of an ogre, his body great and tall; with a hairy face and tufts of hair on his throat and chest, and skin deeply wrinkled. He is part of the wonder of this tale: because, although he was an ogre king, he had a virtuous and generous nature.

245

Sinigeg kang murwéng [hamurwèng] kåndhå, nunggil panggung sanès panggènan ingkang wonten pundi tå? Punikå wonten Kraton Jongparang. Naléndrå Jongparang titahing papaès diyu, slirå geng aluhur, godhèg wok, simbar dhådhå, njeruk purut pakulitané. Kalebet dados kaélokaning critå senadyan tå wonten ratu rasekså hananging ndarbé watak bèrbudi båwå leksånå.

[Téjanata, gendhing kethuk kalih kerep] [minggah Ladrang Playon laras pélog pathet lima] [Sirep] DHALANG: Where did this take place? It was in the palace of Jongparang. He who was known as the king of Jongparang was a creature of God in the form of an ogre, fearfully gigantic, with a hairy face and hair on his throat and chest, and skin as wrinkled as a lemon. He was fierce-looking, his eyes looked as if he intended to gobble you up. He wore a drooping mustache and had razorsharp fangs like tridents peeping out from between his lips.

246

He was a king of incredible supernatural powers, and could burn you with a stare and scorch you with a glance. His body was invulnerable, not a hammer could touch him, not a weapon could harm him, not even the sharpest point could scratch him. He held the land of Jongparang as king but yet he had loyal followers among many other kings. These many kings showed loyalty to him not because he conquered them in battle but only because they loved him for his wise counsel. In

247

87

Ingkang wonten pundi tå? Punikå ingkang wonten Kraton Jongparang? Yaiku warnané Naléndrå Jongparang titahing déwå ingkang pepaès diyu, geng biråwå, godheg wok, simbar dhådhå, njeruk purut pakulitané, pasuryan bengis, nétrå mentheleng kadosing ngarså mangan cålåméndha, brengos nguler geni ngisis, siung mingis-mingis méndhå trisulå. Ratu digdåyå sekti mandrågunå mandeng geseng, mlirik mrekitik. Slirå tan tedhas maring tapak paluning pandhé, sisaning gréndå tan tedhas maring bråjå lungit. Ngastå naléndrå wontening Negari Jongparang, sanadyan Negari Jongparang ugi sinuyudan déning sapadha-padhaning ratu. Kathah naléndrå ingkangsami sumuyut sumuwitå tan karånå båndhåyudå amung kiyungyun mring pangoyaning [poyaning] kau-

This is a common narrative device to change scenes.

Pathet nem truth, here is the wonder of this tale. For, although the king of Jongparang had the form of an ogre, he possessed a righteous and generous nature, and he loved his subjects and servants deeply.

187

taman. Yekti dados kaélokaning critå. Senadyan tå naléndrå Jongparang naléndrå pepaès diyu nanging sang prabu handarbé watak bèrbudi båwå leksånå, asih tresnå mring kewulå [kawula] dasih.

On the day of Respati the king appeared and granted audience to his people, sitting on his throne of gold and ivory, enveloped in a bouquet of fragrant flowers, cooled left and right by fans of peacock feathers.

248

Nuju arespati sang prabu miyos sinewåkå lenggah wonten kursi gadhing dampar kencånå. Sinebaran sarigåndå widuring sajebatan kasturi kinebut talar badhak kanan kéring kongas gendanipun sang prabu.

Who was it who came to visit the king in his audience hall? A handsome young warrior, soft spoken, his skin so fair that his blood vessels showed up pure clear green. Although he was a man, his body was [slight] like a woman. The only child of King Ajijaya Diningrum, he was called Prince Jatikusuma.

249

Sinten tå punikå ingkang séba wonten ngabiyantårå nåtå? Satriyå bagus kembang bawang, wåndå ruruh, slirå kuning nemu giring, otot bebayu ketingal ijo riyo-riyo [royo-royo]. Senadyan tå priyå, aslirå putri. Putra tunggal Prabu Ajijåyå Diningrum yaiku kang kekasih Radèn Jatikusumå.

Arriving for the royal audience, came the chief counselor, a creature of God in the form of a great ogre. His body loomed as large as a house, his face was like that of a lion, his eyes like twin suns, his nose curved to a point like the prow of a boat, and his mouth gaped like a yawning cave. His name was Patih Didya Tenung Turanggadhèsthi.

250

Sinambung miyos sowanipun wrångkå dalem titahing déwå ingkang asipat rasekså genging rågå njenggeleg sagubug ranggon gedhéné. Pasuryan mindhå singå barong, nétrå lir baskårå kembar. Grånå kåyå canthuking baitå, tutuk kåyå lénging guwå. Punikå ingkang nami Patih Didyå Tenung Turånggådhèsthi.

It is told that the audience was filled to overflowing, an ocean of faces, pressed together, knees pushed against knees. When King Ajijaya Diningrum entered, the many ministers of the kingdom grew silent with awe and reverence. Truly great was the splendor of King Ajijaya Diningrum. Indeed, everyone then fell silent, not a human utterance was heard. The only sounds were the trumpeting of the royal elephants, the growling of the tiger, the roaring of the royal lions, and the whinnying of the horses of the palace

251

Kacaritå paséwakan mambakmambak mblabar lir samudrå surut ketingal jejel apipit thuk dhengkul tumpang wrångkå. Miyosipun sang Prabu Ajijåyå Diningrum sedåyå pårå nayakaning pråjå kaprabawan, yekti agung prabawanipun sang Prabu Ajijåyå Diningrum. Milå duk nalikå samånå sepi mamring tan kapiarså åbå suwantening jalmå. Ingkang kapiarså ming pangemprèting dwipånggå, pambaunging sardulå, panggemboring singå barong, sartå bitihaning pårå punggåwå ingkang

Act 1

188 guards tethered outside. Hush, let the story begin as the words of the king then emerged from his lips...

samyå cinancangan. Sinigeg kang murwèng kåndhå nalikå samånå sang prabu kepareng mbabar pangandikå kawijiling lésan.

[Udhar] [Suwuk] [Sulukan pathet lima wantah in Solonese style laras pélog] DHALANG : 5̣ 6̣ 1 2 2 2 2 2 2 23 2-121 Mi-jil la-ngen- i-rå sang na-ra-pa- ti, 1 1 1 1-21 6̣-5̣6̣5̣ Lam-pah-nyå a- lon, 3 321 2 3 3 3 3 2 2 23 23-121 Mi-jil la-ngen- i-rå sang na-rå-pa- ti, 1 1 1 1-21 6̣-5̣6̣5̣ Lam-pah-nyå a- lon, 1 1-2323 3 3 3 3 3212 3 Gi-nare-beg be-dhå-yå yu [ayu], 2 3 21 1 1 1 1 1 1 6̣5̣6̣5̣ War-na-ni- rå so-lah-i-rå wi-ngit, 4 4 4 4 4 4 456 5-653 21216̣ Lir wi-då-da-ri tu-mu- run, A... 1 1 1 1 1 1 1-21 6̣5̣6̣5̣ Lir wi-då-da-ri tu-mu- rum, 4̣ 5̣-6̣ 4̣ 5̣ 6̣-5̣3̣-2̣-1̣ Sa-ri sa-ri, O... DHALANG: It pleased the king to appear, His walk was slow, It pleased the king to appear, His walk was slow, Escorted by his exquisite court dancers, Their aspect and conduct awe-inspiring, Like celestial nymphs descending, A... Like celestial nymphs descending, Ceaselessly... O...

Pathet nem AJIJAYA: By heaven, by the gods, and by the universe! Chief Counselor Tenung Turanggadhèsthi.

252

TURANGGADHESTHI: É-é-é-éh! I am at your command, your supreme majesty.

253

AJIJAYA: It has been a long time. Did you arrive in good health, Tenung Turanggadhèsthi?

254

TURANGGADHESTHI: É-éh! Allow me to say in your esteemed presence, my lord, that your servant’s visit is to honor your esteemed invitation. There has not been a single interference to my tranquility: I have been safe from all tribulation.

255

AJIJAYA: Very good, counselor.

256

TURANGGADHESTHI: Allow me to express my humble respects and best wishes, I submit my obedience at your feet, lord your highness.

257

AJIJAYA: It is received with pleasure and joy. Accept my blessings, Tenung Turanggadhèsthi.

258

TURANGGADHESTHI: É-é-éh! I thank you. I accept your blessings upon my head and they fall to my chest, may they bring fortune to my life.

259

AJIJAYA: Very good. May it indeed be so, counselor.

260

189

Jagad déwå yå bathårå yå jagad pramuditå. Patih Tenung Turånggådhèsthi. É-é-é-éh! Kawulå nuwun dhawuh sabdå pangandikå nyåwå-nyåwå pepundhèn kulå. Wis ånå antarané dangu ingkeng dadi pisowanmu kanthi raharjå, Tenung Turånggådhèsthi? É-éh! Kepareng sumelå atur katur wonten ngandhaping papådå Gusti, pisowanipun ingkeng abdi mundhi keluhuran [kaluhuran] dhawuh timbalanipun. Mboten wonten pambeng setunggal punåpå rahayu widådå lir saking sambé kålå, Sinuwun. Bagus, Tih [Patih]. Kepareng ngaturaké sungkeming pangabekti sembah kulå konjug wonten ngandhaping papådå, gusti kulå ingkang sinuwun. Tinampi kanthi agawé sukå renaning penggalih. Pujå astutiku kebat katampyå, Tenung Turånggådhèsthi! É-é-éh! Kawulå nu-nuk-nun. Kulå tampi pinundhi wontening muståkå rumentak [rumentah] wontening pranåjå mugyå andadosaké jimat gesang kulå, Gusti? Bagus. Mugå-mugå, Tih.

190

Act 1

TURANGGADHESTHI: U-uh! Allow me to ask what the purpose of my visit is.

261

AJIJAYA: What do you mean?

262

TURANGGADHESTHI: Will I be commanded to enlarge the realm, or to restrain our enemies? I promise to carry out your orders and not disappoint you, my lord.

263

AJIJAYA: Ho-ha-ha-ha-he-he-he! What you say gives me pleasure, Chief Counselor Tenung Turanggadhèsthi.

264

TURANGGADHESTHI: Indeed.

265

AJIJAYA: You are always ready to settle a dispute, even at the risk of your own comfort.

266

TURANGGADHESTHI: Certainly.

267

AJIJAYA: But please understand, I have no wish to enlarge the realm or to confine our enemies, or to do anything! I have not attended to such matters for a rather long time. Chief counselor!

268

TURANGGADHESTHI: Your command, your excellency?

269

AJIJAYA: When I think about it, I am a king wealthy in worldly riches, a king wealthy in family. If I feel that I have everything I could desire, that

270

U-uh! Kepareng kulå nyuwun dhawuh pisowanipun ingkeng abdi wontening arså. Piyé? Punåpå kulå badhé tinanggenah njembaraken jajahan, punåpå badhé tinanggenah ngrerupek panggènaning mengsah? Ingkang abdi sandikå mundhi dhawuh padukå mboten badhé nguciwani, Gusti pepundhèn kulå. Ho-ha-ha-ha-hé-hé-hé! Agawé sukå renaning tyas ingsun, Patih Tenung Turånggådhèsthi ingkeng dadi aturmu katur kuwi mau. Inggih. Jeneng sirå samektå gawé sawanciwanci katempuh ing båyå pekéwuh [pakéwuh] dadi sambung watangwutungku, Patih. Inggih. Nanging ngertènånå ingsun tan arså njembaraké jajahan, ngrerupek panggonané musuh yå kånggo nggawé åpå! Bab perkårå iku ingsun wus kapårå dangu datan menggalihaké. Patih! Dhawuh, Sinuwun? Yèn tå sun [ingsun] penggalihaké ingsun naléndrå ingkang sugih dunyå brånå, naléndrå ingkang bånd hå-bandhu sentånå. Yèn tå ingsun

Pathet nem

191

ndarbé råså mukti wibåwå, nyakrawati mbau ndhendhå, ki layak. Éwå samånå kemulyan, kemuktènku, iku durung biså penggalihaké, durung biså ndak [tak] rasakaké. Harmargå [amargå] sajroné warså tumekå ing candrå iki, aku tansah nyawang putraningsun tunggal, Jatikusumå. Iku ingkeng agawé sungkåwå ing penggalih. Yektiné lagyå andarbé pamintå ingkeng ingsun durung biså nyembadani.

I am a powerful ruler, it is only natural. Even so, I cannot ponder or enjoy my esteem and worldly comforts, because I have been worried about my only son, Jatikusuma, these past months. It is he that is bringing grief to my heart. In fact, he has made a request which I have as yet been unable to carry out.

TURANGGADHESTHI: É-é-é-é-éh! Indeed it is so, excellency.

271

AJIJAYA: Thus, I sent your cousin, Tenung Turanggamaya, to ask for the wife of the king of Ngastina, Dèwi Banowati, as well as the priest, Durna, to become the horse that draws the golden royal carriage of Jongparang. This was at my son’s request.

272

TURANGGADHESTHI: Indeed, é-éh! Yet up to now, the day of this meeting, Tenung Turanggamaya has not yet arrived.

273

AJIJAYA: Wait awhile longer. My child, you handsome boy, my beloved boy, don’t just sit sprawling without saying a word, unmoving and unshifting. Just believe in your uncle, Tenung Turanggamaya, he’ll bring the woman who has become your heart’s desire.

274

É-é-é-é-éh! Ingkang mekaten punikå nuwun inggih, Sinuwun. Mulå ingsun utusan kadangmu wredå, Tenung Turånggåmåyå, kinèn nyuwun garwå nåtå Ngastinå, Dèwi Banowati, lan Pendhitå Durnå kanggo jangkeping kudå ngerit råtå kencånå kraton in Jongparang. Iki såkå panyuwuné putraku, si Jatikusumå. Kulå nuwun inggih, é-éh! Ananging ngantos ari palenggahan samangké Kadang Tenung Turånggåmåyå dèrèng dumugi sowan. Entèni sawetårå. Putraningsun bocah kang sigit, putraku cah [bocah] bagus ingkeng ndak tresnani. Mbok åjå menang-meneng, lungguh sluku, nora ngobah, nora ngalisik. Sing percåyå waé, pamanmu Tenung Turånggåmåyå, bakal éntuk wanadyå ingkang lagyå dadi geganthelaning atimu.

[Sulukan sendhon Kloloran laras pélog pathet nem] 2 2 2 2 2 2 2 2 2 2 6 45656 6 6 Ri-rih ar-då pal-wå mut-ing war-ih dres- ing kar-så,

Act 1

192

6̣ 1 2 2 2 2 2 3 2-12 2 Dres-ing fkar-sa-ning-sun dè-ning ké- nyut, 1 2 3 3 3 3 3 1-2323 Ma-nis-é ling-i-rå gus-ti, 2 2 2 2 2 3 3216̣ 1-2 6̣ Ron-ing ka-mal mi-rah ing- sun, O... DHALANG: In solitude a boat is lapped by tides of desire, The force of my desire to be swept away, By the sweet words of my lord, A petal of the red tamarind... O... JATIKUSUMA: Father, father, if I don’t marry Lady Banowati this month, I cannot bear to live any longer, father.

275

Kanjeng Råmå, Kanjeng Råmå, menawi mboten dhawah sasi punikå kulå mantènan kaliyan Dhi Ajeng Banowati, kulå aluwung wangsul dhateng kasidhan jati, Råmå.

[Srepegan Mataraman laras pélog pathet nem] AJIJAYA: Oh dear, oh dear! My boy, my boy.

276

Wadhuh, wadhuh. Kulup, kulup.

[Suwuk] AJIJAYA: My son, Jatikusuma, my son.

277

JATIKUSUMA: I await your command, father.

278

AJIJAYA: Enough now, there’s nothing else to do but to wait. Why be so impatient? Furthermore, who knows, Son. Your uncle may return without having completed his task. If indeed your uncle Tenung Turanggamaya does not accomplish his task, just accept things as they come and resign yourself to the inevitable. In reality, life is like this, son.

279

Kulup, Jatikusumå, Kulup. Kulå nuwun dhawuh pangandikå, Kanjeng Råmå. Wus mung kari anganti waé, kok ing semu kurang sabar atimu. Ngejåbå såkå kuwi, Kulup--éh, såpå ngerti baliné pamanmu ing mengko nora biså éntuk gawé. Yèn tå pamanmu, Tenung Turånggåmåyå, nora pikanthuk gawé, mbok yå mupus waé tinemumu, pikiran mupus. Ingkang sejatiné ki ngéné, Kulup.

Pathet nem

193

JATIKUSUMA: How so, father?

280

AJIJAYA: On the outside I went along with all this, but deep inside my heart I felt at odds, son.

281

JATIKUSUMA: Father, what do you mean by that?

282

AJIJAYA: Well, son, I’ll explain. Actually, you are young, barely an adult, and still fresh. Your age is not great and you’re a virgin lad. Even so, if you desire marriage, then find yourself a young maiden who is your equal. Even if you were indeed able to marry Banowati, your ages would not be equal. Banowati is much older than you. That’s the first thing.

283

Secondly, this is in fact our family taboo, handed down to me from generation to generation. I now pass it from the seventh generation to the eighth: do not become Sattracted to a women who has other commitments. Because it is a lifetime of human suffering in a marriage when the wife has been intimate with another man.88 There it is, faithfulness, faithfulness. Now, as it happens, Banowati is the wife of King Suyudana.

284

Kaping pindho, yektiné dadi pepaliné pun Råmå. Wis ndak tedhak turunaké, tedhak tumurun, tumurun pitu tedhak wolu. Yèn tå slirå bakal sengsem marang wanitå, åjå wanitå kang wis nduwèni kewajiban. Awit lara-laraning ati menungså urip jejodohan yèn garwané ki dicemah déning priyå sanès. Lha kuwi, imbang råså, imbang råså. Ing mångkå Banowati garwané Prabu Suyudånå.

And that’s it, that’s it. Why don’t you just find yourself a young girl, who is still available, my son Jatikusuma. Find yourself an available one. What’s more, find a princess equal in rank [to you]. With my wits and power I could find

285

Lha iki, lha iki. Mbok nggolètå [nggolèkå] waé wanujå kang sih [isih] remåjå, ingkeng isih legan, Kulup Jatikusumå. Nggolèk ingkang legan, åpå manèh pådhå-pådhå putrå ratu. Akal pambudi dayané pun Råmå kepriyé tuk [tak] lakoni, senadyan tå

88

Kados pundi, Råmå? Yèn ing tåtå lahir pun Råmå ki ngombrongi [ngombyongi], nanging yektiné ing bathin ki kurang nyarujoni, Kulup. Råmå, mekaten punikå kados pundi? O-iyå, Nggèr. Ndak ngertèni, yå Nggèr. Sejatiné sirå ki isih mudhå, isih tarunå, isih enom. Yuswamu durung akèh, jåkå thing-thing. Hambok iyåå yèn tå sirå kepéngin dadi mantèn, nggolèkå wanujå ingkang sih [isih] remåjå, ingkang saimbang lawan kowé. Lho kuwi, Kulup. Ngejåbå yèn sirå biså kateman mantènan lawan Banowati, yuswa wis ora imbang, tuwa Banowati kalawan sirå. Lha kuwi sepisan.

Literally, ‘treated dishonorably by another man’.

Act 1

194

nyuwun widadari lir umpamané sun [ingsun] lakoni minggah sowan ing kayangan nglamar widadari. Dadi, yèn biså, nggolèk liyané waé. Åjå Banowati. Sepisan, wis tuwå. Ping pindhoné, wis nduwé putrå, Kulup. Pikir-pikir, pikir-pikir

you one. Should you ask for a goddess, for instance, I would climb up to the heavens and plead for a goddess. Why not just try to find yourself someone else. Not Banowati. First, she’s too old for you. Second, she already has children. Son, think it over, think it over.

[Sulukan Sendhon laras pélog pathet nem] [Céngkok Ki Sugino Siswocarito] DHALANG : 3 3 3 3 3 2 2-12 1 1 Mus-ti-ka-ning na-rén-drå tå-må, Balungan

:

3

2

DHALANG :

1

2 2 2 2 2 1 Bèr- bu-di bå-wå

Balungan

: 5

Gérong

:

Balungan

:

Gérong

:

Balungan

:

3

56 3 A- nggé

5

3

2

5 6 5 6 3 nggan- jar

3

1 21 lek-så- 3

6̣ nå, 2

3 2 · 1 1 3 2 sa- ben di- 2

3 3 2 1 2 A- ne- te- pi 3

6

1 2 3 1 1 2 1 pa- ngan- di-

1 1 nå, 6 6̣ kå,

2G

DHALANG: The words of the king are potent, Filled with kindness and truth, He rewards his subjects each day And stands by his word... JATIKUSUMA: Father.

286

AJIJAYA: How about it, son? Why not think it over, think it over? Suppose your uncle does not accomplish his mission. Even if he does completehis task, even if Banowati should arrive here, after carefully thinking it through, you could have her

287

Kanjeng Råmå. Kepriyé, Kulup? Kepriyé, dipikirpikir, dipikir-pikir? Upamané pamanmu irå éntukå gawé, umpåmånå éntukå gawé. Yèn sirå wis mikir kanthi wening senadyan Banowati wis tekan ing kéné dibalèkaké. Ki mandar dadi apiké

Pathet nem

195

yèn biså nggolèk liyané waé. Nggolèk liyané, nggolèk liyané. Kulup, Kulup, nggolèk liyané. Pirang-pirang akèh wanujå kang sih remåjå, wanujå kang sih legan.

returned. Moreover, it would best if you could just find yourself another. Find yourself another, find yourself another. Son, son, find yourself another. Think about how many other women there are, how many who are young and available. JATIKUSUMA: Father, no. Despite all you’ve said, I’ve already decided, father. First, one that’s old and, second, one with children. She’s the one I’ve chosen.

288

AJIJAYA: Oh, this boy is truly headstrong, a willful boy, he is. Now, what do you lack in looks? You are handsome. You have great powers, and you are a crown prince. Why are you so impulsive? Just so impulsive. Falling for an older woman, a woman with children. With children. Do you understand, my son Jatikusuma?

289

JATIKUSUMA: What do you mean?

290

AJIJAYA: Banowati has two children, the elder is Prince Lesmana and the younger Lesmanawati. What do you think? Use your head, use your head. Find yourself a [young] virgin.

291

TURANGGADHESTHI: Ha-ha-ha-hah! My lord, your father the king speaks truth, Prince Jatikusuma. Seek out some young ladies, there are many, prince. U-u-u-uh, doom and damnation! Suppose it happened that you obtained Dèwi Banowati as a wife. Wouldn’t you be embarassed, Prince? Someday when you happen

292

Råmå mboten mandar ingkang kulå pilih punikå ingkang sampun sepuh kok, Råmå. Sepindhah ingkang sampun sepuh, ångkå kaping kalih, ingkang sampun kagungan putrå. Punikå ingkang kulå pilih. O, pancèn bocah nékad kuwi, cah [bocah] nékad kuwi, jenengané. Lho, kurang åpå bagusmu? Bagusmu bagus. Digdåyå punjuling apapak, dhasar putraning naléndra. Lho, kok gelem-gelemé. Gelemé-gelemé. Bakal nresnani wanujå kang wis tuwå, wanujå kang wis duwé peputrå. Wis peputrå. Ngertèni, Nggèr Jatikusumå.

Kados pundi? Putrané Banowati kuwi loro, mbarep Radèn Lesmånå, ragil Lesmanawati. Kepriyé kowé? Pikirané dienggo, pikirané dienggo, pikirané. Nggolèk sing sih kinyis-kinyis.

Ha-ha-ha-hah! Leres pangandikanipun gusti kulå, Prabu Keng Råmå, ingkang sampun keparingaken dhateng panjenengan, Radèn Jatikusumå. Mados nimasnimas--niku kathah, Radèn. U-u-u-uh, élah dalah! Umpami kasembadan pikanthuk garwå Kusuma Dewi Banowati, punåpå mboten lingsem

Act 1

196 to be sitting together, people would notice that you aren’t two peas in a pod.89 É-é-é-é-éh, worse than that, Dèwi Banowati would be like a grandma with her grandchild. É-éé-é-éh!

292

JATIKUSUMA: Uncle Tenung Turanggadhèsthi.

293

TURANGGADHESTHI: U-u-u-u-éh, what is it, prince?

294

JATIKUSUMA: First, so what if Banowati is old? Second, should it happen that at the same time there’s a young lady, I’d just take the two of them.

295

TURANGGADHESTHI: Ha-ha-ha-hah! So you wouldn’t share them with your servant. Uheh-la, Prince, prince.

296

AJIJAYA: Jatikusuma!

297

JATIKUSUMA: Your command, father?

298

AJIJAYA: Remember, just think about it!

299

JATIKUSUMA: There’s no need to, father. I’ve made an oath to myself. I must have Banowati as my wife and I must have a horse. I will make Priest Durna the royal horse of Jongparang.

300

penjenengan, Radèn? Mangké kalamon pinuju lenggah jajar dipun sawang mboten kados jambé sinigar. É-é-é-é-éh, mandar penjenengan kaliyan Gusti Kusumå Dèwi Banowati kados nini kaliyan putuné. É-é-é-é-éh! Paman Tenung Turånggådhèsthi. U-u-u-u-éh, kados pundi, Radèn? Nomer siji, yå Banowati sing wis tuwå. Syukur pisan ånå kang sih nimas, loro-loroné yå kenå.

Ha-ha-ha-hah! Ora nguman-ngumani karo batir. U-héh-lha, Radèn, Radèn.

Jatikusumå! Nuwun dhawuh pangandikå, Kanjeng Råmå? Di-éling-éling, dipikir-pikir! Mboten kémawon, Råmå. Punikå sampun dados prasetyå kulå. Kulå kedah ndarbé sisihan Dhi Ajeng Banowati, kulå kedah andarbé titihan. Pendhitå Durnå kulå dadosaken kudå wonten ing Kraton Jongparang.

[Sulukan ada-ada Mataraman laras pélog pathet nem] DHALANG : 6 6 6 6 6 6 6 6 Ri-dhu ma-nga-wur-a-wur-an, 89

2 2 2 2 2 2-1 1 Te-nga-ra-ning a-ju- rit, Literally, ‘a split betelnut’.

Pathet nem



1 1 1 1 1 1 Gong ma-gu-ru gång-så,



2 2 2 2 2 2 Gong ma-gu-ru gång-så,



2 2 2 2 2 2-1 6̣ 3 Te-teg-å yå bu-tul- å, É...

197

DHALANG: Confusion spread, A signal for battle By the gong master of the gamelan, By the gong master of the gamelan, Steel yourselves and stab! É... 301

DHALANG: Then there was an uproar at the palace gates. Prime Minister Tenung Turanggamaya strode up to the great hall of Jongparang Palace.

Duk nalikå samånå gègèring paseban njawi. Rekyånå Patih Tenung Turånggåmåyå minggah wonten paséban agung Kraton Jongparang.

[Srepegan Lasem in Solonese style laras pélog pathet nem] [Suwuk] AJIJAYA: Doom and damnation, wa-hé-héhé-hé-hé! My eyes widen, unblink ing as those of a fish. If I’m not mistaken, they gaze upon my future daughter-in-law.

302

TURANGGAMAYA: É-é-é-éh! Uh, doom and damnation! My beloved lord.

303

AJIJAYA: Patih Tenung Turanggamaya.

304

TURANGGAMAYA: Yes, it is I, your servant Turanggamaya who approaches. Allow me to report that I have accomplished my mission, and that I am able to present Priest Durna and Queen Kusuma Dèwi Banowati before you.

305

Wélah dalah, waa-hé-hé-hé-hé-hé! Mripatku meleng-meleng kåyå mri pat bandeng datan kumedhép. Yèn ora luput, iki nyawang binah putrå mantu. É-é-é-éh! Uh, élah dalah! Nyåwånyåwå pepundhèn kulå. Patih Tenung Turånggåmåyå. Inggih, ingkang abdi kulå Turånggåmåyå ingkang mårå sowan, Gusti. Kepareng ngaturaken pikanthuking dedamel, nggih [inggih] punikå Båpå Pendhitå kaliyan Gusti Kusumå Dèwi Banowati sampun saged kulå sowanaken ing arså.

Act 1

198

[Sulukan ada-ada Mataraman laras pélog pathet nem] DHALANG : 6 6 6 6 6 6 6 6 Ri-dhu ma-nga-wur-a-wur-an,

2 2 2 2 2 2-1 1 e-nga-ra-ning a-ju- rit,



1 1 1 1 1 1 Gong ma-gu-ru gång-så,



2 2 2 2 2 2-1 6̣ 3 Te-teg-å yå bu-tul- å, É... DHALANG: Confusion spread, A signal for battle By the gong master of the gamelan, Steel yourselves and stab! É...

TURANGGAMAYA: Ho-ha-ha-hé-hé-hé-héh!

306

AJIJAYA: Prime Minister Tenung Turanggamaya!

307

TURANGGAMAYA: What is your command, majesty?

308

AJIJAYA: First, rest. Second, be advised that your arrival is truly appreciated. You will receive a gift equal to your deed.

309

TURANGGAMAYA: Certainly, I obey your command and express my gratitude, sire.

310

AJIJAYA: Father Priest Durna, father?

311

DURNA: I await your command, my young king. Excuse me, is this not the palace of Jongparang?

312

Ho-ha-ha-hé-hé-hé-héh! Patih Tenung Turånggåmåyå!

Nuwun dhawuh pangandikå, Sinuwun? Sepisan, ngilangnå [ngilangånå] sayah. Kaping pindho, mrayogaknå [mrayogånå] keng dadi pisowanmu ketrimå. Kowé bakal pikanthuk nugråhå peparingku ingkeng saimbang lawan pakaryanmu kuwi. Inggih, ngèstokaken dhawuh matur bingah, Gusti. Båpå Pendhitå Durnå, Båpå? Kulå nuwun dhawuh pangandikå, Nggèr Putrå Prabu. Nuwun sèwu, punåpå mboten lepat ing ngriki Kraton Jongparang?

Pathet nem AJIJAYA: Indeed it is!

313

DURNA: You are called King Ajijaya Diningrum?

314

AJIJAYA: Indeed I am, father priest!

315

DURNA: Oh, of course. Noble king, please, I only ask that I may take my leave and be taken home.

316

BANOWATI: Mercy, mercy, mercy, uncle priest, uncle. What are we doing here at the palace of Jongparang? Your majesty, majesty! Don’t be foolhardy, just have me returned to the palace of Ngastina, quickly! Majesty, I demand to be taken back, majesty!

317

199

Nuwun inggih! Padukå ingkang jejuluk Prabu Ajijåyå Diningrum? Inggih, Båpå Pendhitå! O, nuwun inggih, Kusumå Ratu, månggå, kulå aturi nyuwun pamit, kapurih dipun wangsulaken kémawon. Tobat, tobat, tobat, Paman Pendhitå Durnå, Paman. Lho, kok jebul tekaning Kraton Jongparang kéné. Sang Prabu, sang Prabu! Mbok yå åjå semengah pengawak bråjå, ndang aku utusan balèkaké waé neng Kraton Ngastinå! Sang Prabu, aku nyuwun dibalèkaké waé, sang Prabu!

[Srepegan Lasem in Solonese style laras pélog pathet nem] AJIJAYA: Well! Ho-ha-ha-hé-hé-hé!

318

Wadhuh! Hoha-ha-hé-hé-hé!

[Suwuk]

AJIJAYA: By heaven, by the gods, and by the universe. My son, Jatikusuma.

319

JATIKUSUMA: At your command, father.

320

AJIJAYA: So be it! Since you won’t listen to my advice, it’s useless to argue with you. There’s your oath, if you couldn’t obtain Banowati as your wife, you would end your life. And this I fear. If that’s the way it is, I’m forced to stand behind you. The important thing is to be prepared when those of Ngastina arrive to

321

Jagad déwå yå bathårå yå jagad pramudhitå. Kulup Jatikusumå. Nuwun dhawuh pangandikå, Råmå. Måså bodhoå! Amargo sirå wis ora nampi marang pinemuné [panemuné] pun Råmå, wélah. Ånå prasetyamu, yèn ora biså pikanthuk garwå Banowati, haluwung [aluwung] bali mring kasidanjati. Lha, iki pakewed pun Råmå. Yèn kåyå ngånå, meksa pun Råmå bakal ngombrongi. Asal sing ngati-ati,

200

Act 1

challenge the Kingdom of Jongparang. Don’t allow matters to go too far.

samångså-mångåa såkå Ngastinå nglurug marang Pråjå Jongparang. Åjå nganti ketlompèn [ketelompèn].

JATIKUSUMA: Certainly, father, I thank you sincerely. I honor your words, father.

322

AJIJAYA: Now I feel better, I will leave the audience hall and retire to the inner palace. Take Banowati and Durna in custody.

323

JATIKUSUMA: Certainly, my many thanks. Counselors Tenung Turanggamaya and Tenung Turanggadhèsthi.

324

TURANGGAMAYA and TURANGGADHESTHI: É-é-é-é-éh, doom and damnation!

325

JATIKUSUMA: Tenung Turangga[maya],90 Priest Durna should rest, put him in a stable, but a clean one. Prepare fodder of fresh peanut leaves and grass as well as soft bran for him. Let there be no shortage of fodder. Priest Durna is to become the horse for my carriage.

326

DURNA: Bujug, bujug. Hah, I beg you, just take me home. I’ve already been humiliated over here, and I am a priest wealthy in powers of magic, of darkness, and of love. Bujug, bujug. Who is it that is bringing this curse upon me? Whoever it is, making me suffer this way, willknow divine retribution. Naah, divine retribution, divine retribu

327

90

Nuwun inggih, Kanjeng Råmå, atur sembah nuwun sanget. Anggèn kulå mundhi pangandikanipun, Kanjeng Råmå. Saiki, sing kepénak pun Råmå. Ndak tedhak såkå ing palenggahan kondur ngedaton. Banowati lan Pendhitå Durnå, purbawasésa slirå ingkang nyepeng. Kawulå nenuwun inggih, atur sèwu sembah nuwun. Patih Tenung Turånggåmåyå lan Tenung Turånggådhèsthi.

E-é-é-é-éh, élah dalah! Tenung Turånggå[måyå], Pendhitå Durnå iki supåyå ngaso dilebokaké aning [nanging] gedhogan kang anyar. Diaturi dhaharan réndéng lan suket kang enom-enom, dhedhek kang lembut-lembut. Åjå nganti kurang kang dadi dhaharané Pendhitå Durnå kang bakal ndak dadèkaké kudå titihanku. Bujug, bujug. Hah, kulå nyuwun dipun wangsulaken kémawon. Kulå sampun dipun siyå-siyå wonten mriki. Awit kulå punikå [sa] tunggaling pendhitå ingkang sugih kawijayan, kanuragan, gunå-dhèsthi, dhuyung kasihan. Bujug, bujug. Sinten ingkang ndamel cintråkå dhateng kulå? Sinten ingkang damel sakit ing raos kulå,

At this point, and until he corrects himself at item 405, Sugino reverses the names of the two ogres, Turanggamaya and Turanggadhèsthi.

Pathet nem

201

punikå badhé kewalat, badhé kewalat. Gambaranipun wonten setunggaling menungså ingkang nyåndrå kulå, sukuné lècèt amargi sepatuné anyar. Niku mumet, pådhå sanalikå, mumet... mumet... mumet... bujug, bujug.

tion. I am a picture of human suffering: [even] my feet are blistered because of my new shoes.91 The pain, both at the same time, ow... ow...ow... bujug...bujug.

JATIKUSUMA: Enough, stop carrying on so. Uncle Tenung Turangga[maya], since you’re not weary, take Priest Durna into custody.

328

Wus, åjå kesuwèn. Paman Tenung Turånggådhèsthi kang ora sayah, Pendhitå Durnå lebokaké maring pakunjaran.

[Srepegan Lasem in Solonese style laras pélog pathet nem] DURNA: Bujug, bujug!

329

TURANGGAMAYA: É-é-é-é-éh!

330

Bujug, bujug! É-é-é-é-éh!

[Suwuk] [Sulukan sendhon Kloloran jugag laras pélog pathet nem] DHALANG : 2 2 2 2 2 2 2 2 2 2 2 2 2 Wa-nu-dyå a-yu én-dah su-lis-tya-ning war-nå, 6 6 6 6 4 456 6-56 6 Én-dah su-lis-tya-ning war- nå, 1 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Gan-da-nyå ma-ngam-bar-am-bar a-rum lir gan-da-ning ke-su-må, 2 2 2 2 3 216̣ 1-2 6̣ Lir gan-da-ning ke-su- må, O... DHALANG: A lovely woman beautiful and charming, Beautiful and charming, Her scent permeates the air like the fragrance of a flower, Like the fragrance of a flower... O... 91

This is a reiteration of an inside joke for the gamelan troupe. It is a humorous reference to one of musicians, named Basor, who had recently bought a pair of shoes and complained about his blisters.

202

Act 1

JATIKUSUMA: Tenung Turangga[dhèsthi], please seat yourself comfortably.

331

TURANGGADHESTHI: Certainly. As you wish, prince!

332

JATIKUSUMA: Dear Banowati?

333

BANOWATI: É-éh! What you mean by calling me ‘dear’? What impudence, what impudence!

334

JATIKUSUMA: Please allow me to introduce myself. I am Prince Jatikusuma, son of the king of Jongparang, here. I’m young, powerful, and sure to be king later after I marry you, Dear Banowati.

335

BANOWATI: É-éh! How dare you, how dare you! You want to marry me, how dare you! Don’t you realize that I am the wife of the king of Ngastina? É-éh! He’s young, and a bachelor. Indeed. Well, I won’t stand for this, I won’t stand for this! Why, why does he choose a woman like me, Why? What do you mean by this, what do you mean, young man? Why, a person like that, choosing me, now, it’s not at all proper, it’s not proper! I won’t, won’t...won’t! I won’t! Prince Jatikusuma, just take me right back to the Kingdom of Ngastina. Just take me back.

336

JATIKUSUMA: Who would take you back, who? Who would take you back, who? It’s a long journey. And you’ve just arrived here, why take you back? There’s nothing there. Just remember that. Please look at me.

337

Tenung Turånggå[dhèsthi], lenggahå kang prayogå. Inggih, ngèstokaken dhawuh, Radèn! Dhi Ajeng Banowati? É-éh! Lho, kok ngendikå Dhi Ajeng, ki ketemu pirang perkårå, ketemu pirang perkårå. Kepareng aku ndak nepangaké. Aku Radèn Jatikusumå, putrå naléndrå ing Jongparang kéné. Dasar isih timur, digdåyå, tur bakal dadi ratu ing tembé yèn wis anggarwå lawan sliramu, Dhi Ajeng Banowati. É-éh! Lho, kok gampang temen, kok gampang temen! Kerså nggarwå karo aku, kok kepénak temen. Åpå ora ngerti yèn aku iki wis dadi garwaning Naléndrå Ngastinå? E-éh! Lha, wong isih timur, jåkå pisan. Kok yå, sebel temen, sebel temen. Lho, kok malah milih wanujå sing kåyå aku iki, kok yå. Kepriyé, kepriyé, wong bagus, kepriyé? Lha, wong kåyå ngånå, kok milih kelayan [kaliyan] aku ki, wis ora mèmper banget, ora mèmper! Emoh aku, moh...emoh! Aku moh! Radèn Jatikusumå, aku ndang balèkaké waé mring Pråjå Ngastinå. Aku balèkaké waé. Sing arep diutus mbalèkaké, kuwi såpå? Sing mbalèkaké, ki såpå? Adoh dilåyå-låyå. Wis tekan ing kéné, lha kok dibalèkaké? Ora nånå barangé. Lho, mbok diéling-éling, Banowati. Mbok madhep réné.

Pathet nem BANOWATI: I won’t...won’t-won’t-wont’-won’t!

338

JATIKUSUMA: Why, what’s wrong? I’m an untouched young man, and handsome too. Why, what more could you want? What’s the matter with me?

339

BANOWATI: I won’t, I won’t, I won’t!

340

JATIKUSUMA: Look at...

341

BANOWATI: I won’t! I won’t!

342

JATIKUSUMA: Do you feel remorse, do you regret leaving your aging husband, Jakapitana [Suyudana], King of Ngastina? Don’t worry about those from the land of Ngastina coming here to Jongparang. You aren’t leaving a somebody for a nobody.92 Instead, you’re getting a younger, more handsome man, who is a king as well.

343

BANOWATI: Won’t, I won’t, I won’t. I won’t, I won’t. Why, how dare you, how dare you!

344

JATIKUSUMA: Why, what’s the matter with me, when compared to him, when considered next to him? Surely you would choose me. I’m more handsome, just look.

345

BANOWATI: I won’t, I won’t...won’t, won’t! Just stop your boasting and don’t you get familiar with me, talking impu

346

92

203

Emoh...moh-moh-moh-moh! Lho, kurang åpå? Jatikusumå isih jåkå thing-thing, bagus. Lho arep åpå? Kurang åpå, aku?

Emoh-moh-moh! Madhep... Moh!! Moh! Åpå isih keduwung, keyungyun [kayungyun] ninggal garwå kang wis tuwå, yåiku Jåkåpitånå, Naléndrå Ngastinå. Åjå semelang [sumelang] såkå Negårå Ngastinå tekaning Jongparang. Ora-orané Banowati ‘ninggal deleg mburu uceng’, kuwi ora. Mandar ninggal uceng mburu deleg. Bakal éntuk jodho ingkang luwih enom, luwih bagus, tur yå ratu pisan. Moh-moh, aku moh-moh. Aku mohemoh. Lho, kok gampang temen, kok gampang temen! Lho, kurang åpå yèn dibandingbanding, yèn diimbang-imbang? Mesthiné kudu Banowati kuwi milik aku. Bagusé kåyå ngéné, mbok yå dipriksani. Moh-moh...moh, moh! Åjå semakéyan [sumakéyan], åjå sementånå [sumentånå], sumanggong

Literally, ‘leaving a big ocean fish to hunt for a small, freshwater fish’.

Act 1

204

gelem. Åpå dumèh Banowati garwané wis tuwå, åpå? Senajan tå aku gar-wané Prabu Suyudånå wis sepuh, ngertènånå yå Jatikusumå: aku ki duwé simpenan. Aku ki duwé benahan. Satriyå sing bagusé ngunkuli kowé, lho. Ambegambeganmu. Åpå dianggep aku gumun nyawang sliramu, åpå? Banowati nyawang sliramu sing kåyå ngånå, ki kåyå déné kåyå nyawang åpå? Diimbang-imbang, yèn dibandhing-bandhing kelawan simpenanku dhéwé. Iki bagus simpenanku, lho. Kowé åjå gemagus [gumagus]! Kowé åjå gemagus. Alih!

dently. Because my husband is old,what? Well, even though my husband, King Suyudana, is old, know this, Jatikusuma: I have something on the side. I have a lover. A lord who far exceeds you in handsomeness, in my opinion. Do you think I’m impressed looking at you, what? I look at you the way you are and what do I see? Compared to to my lover, he is better looking. Don’t you be so vain, don’t you be so vain. Get away!

JATIKUSUMA: Dear, look here....

347

BANOWATI: I won’t, I won’t, I won’t, I won’t!

348

Mbok, mriksani... Moh-moh-moh-moh!

[Sound of spitting] TURANGGADHESTHI: Ha-ha-ha-hah! You’re spraying my tunic, Kusuma Dèwi.

349

BANOWATI: Take me home, Jatikusuma! Take me home!

350

JATIKUSUMA: Who will take you home, huh? Just look at me. Why do you refuse, and even turn your back on me?

351

BANOWATI: Eee! Why, how dare you touch my skin, I just want to peel it off. Now I’m being jostled about by you!

352

JATIKUSUMA: Banowat...

353

BANOWATI: I won’t, I won’t, I won’t, I won’t.

354

Ha-ha-ha-hah! Ngeproti dodot kulå, Kusumå Dèwi. Balèkaké, Jatikusumå. Aku balèkaké!

Sing arep mbalèkaké ki såpå? Kok mroksani waé. Kok ora kersa, malah mungkur. Eee! Lha, kok nggrayangi pakulitanku, suka tak sèsèt waé. Aku kesénggol déning kowé. Banowat... Moh-moh-moh-moh!

Pathet nem JATIKUSUMA: Bano...

355

BANOWATI: I won’t, I won’t, I won’t, I won’t.

356

TURANGGADHESTHI: Ha-ha-hah! Pardon me.

357

JATIKUSUMA: What is it, Tenung Turangga[dhèsthi]?

358

TURANGGADHESTHI: You who’d like to touch her, cannot. I who didn’t wish to, kept touching her from there all the way to here.93 Ha-ha-hah! The two of you back to back and I’m already bored. Ha-haha-hah... Ha-ha-hah-uh-uh, doom and damnation!

359

BANOWATI: Don’t you make jokes, don’t you speak rubbish, Tenung Turangga[dhèsthi]. Enough, let’s go. You’re the one who brought me here, so take me back, take me back!

360

TURANGGADHESTHI: Wait a minute. If my lord orders me to take you back, I’ll go. Until then, I won’t!

361

JATIKUSUMA: Turn around and look at me, just for a moment, for the sake of cooling down. When you do decide to look at me, how my heart will melt!

362

BANOWATI: I won’t...I won’t...I won’t...I won’t... I won’t!

363

93

205

Bano... Moh-moh-moh-moh! Ha-ha-hah! Nuwun sèwu. Kepriyé, Paman Tenung Turånggå[dhèsthi]? Penjenengan ingkang seneng malah nyénggol mawon mboten saged. Kulå sing mboten seneng si mpun sénggal-sénggol wiwit saking ngrikå dugi [dumugi] mriki. Ha-ha-hah! Pådhåpådhå adu gigir, kulå mpun bosen. Ha-ha-ha-hah... Ha-ha-hah-uh-uh, wélah dalah! Åjå ngåcåwårå [ngåcåpårå], åjå ngawur tembungmu, Tenung Turånggå[dhèsthi]. Wis, ayo! Wong kowé sing nggåwå mréné aku ndang balèkaké, aku ndang balèkaké! Mangké rumiyèn. Menawi gusti kulå utusan mangsulaken, kulå pangkat. Mboten, nggih mboten, kok. Madhep mréné nyawang sakedhaping mripat waé, kanggo adhem adhem. Yèn tå kerså nyawang aku kåyå åpå kemrenyesé [kumrenyesé] kåyå ngåpå adheming penggalihku! Moh...moh...moh...moh...moh!

He means that he is being sprayed by Banowati’s spitting.

Act 1

206 JATIKUSUMA: Now, just before, you said your husband is old but that you had a lover. Who do you have on the side, who do you have on the side?

364

BANOWATI: Somebody close to me, my own young cousin whose looks far exceed yours. Do you think you’re so handsome? My lover is more handsome, my lover is more handsome, mind you!

365

JATIKSUSUMA: Well-well...well, hmm... Why, a married person having something going on the side?

366

BANOWATI: No need to grumble, no need to mutter. Take me right back!

367

JATIKUSUMA: Just turn around and sit down with me.

368

BANOWATI: I won’t, I won’t, I won’t, I won’t!

369

Lho, ki mau ngendikå, Banowati garwané Ratu Ngastinå wis sepuh, nanging duwé simpenan. Lho, simpenan åpå, simpenan åpå? Simpenan sedulurku dhéwé, kadangku dhewé anom sing bagusé ngungkuli kowé. Åpå dianggep kowé bagus, åpå! Bagus simpenanku, lho! Bagus simpenanku, lho!

Adhuh-adhuh...adhuh, emm... Lho, wong jejodohan kok nduwé simpenan mbarang. Rusah [ora usah] grenang-greneng, rusah grenang-greneng. Aku ndang balèkaké! Madhep mréné mbok lenggahå nèng jejerku. Moh-moh-moh-moh!

[Sound of spitting] JATIKUSUMA: Enough-enough-enough....enough. If that’s the way it is, then I’ll think it over.

370

Wis-wis-wis...uwis. Yèn kåyå ngéné, mengko aku ndak pikir-pikir, aku.

[Sregegan Lasem Mataraman laras pélog pathet nem] [Suwuk] [Sulukan sendhon laras pélog pathet nem] [Céngkok Ki Sugino Siswocarito] DHALANG : 1 1 1 1 1 1 1 1 1 16̣ 6̣1 Wa-no-dyå én-dah su-lis-tya-ning war-nå,

Pathet nem

207

6̣ 1 2 2 2 2 2 2 3 1-2 2 Wa-no-dyå én-dah su-lis-tya-ning war- nå, 6 6 6 6 6 6 6 6 6 6 6 6 2�-1�2�-1� Yèn ngen-di-kå ing se-mu ang-gi-git la-thi, O... 1 2 3 3 3 3 3 2 2 2 1 1 Yèn ngen-di-kå ing se-mu ang-gi-git nggi-git 6̣ 6̣ 12 3 23 2-121 Nggi-git nggi-git la- thi, 3 3 3 3 3 2 2-12 3 3 Lir-ing né-tra lir si-ngå mu-lat, 6̣ 1 2 2 2 2 3 216̣ 1-2 Lir-ing né-tra lir si-ngå mu- lat, 2 3 23 2-121 6̣ 1 2 2 2 2 216̣ 6̣ 1-1216̣5̣-6̣5̣3̣ Sa-so-lah-é sa-so-lah-é mi-la-ngen-i, O... DHALANG: A lovely woman, A lovely woman, When she spoke she seemed to bite her lip, When she spoke she seemed to bite her lip, Bite her lip, Her eyes glowering like a watchful lioness, Her eyes glowering like a watchful lioness, Her movements all pleasing... O... JATIKUSUMA: Banowati?

371

BANOWATI: Whatever is it? Why, [just look at] your face, you really are determined, aren’t you? How dare you be so stubborn, how dare you approach me, how dare you draw near. Get away! Why, how dare you approach me!

372

JATIKUSUMA: Now, wait a minute, I want to speak for just a while. So, my dream to have you as my wife will not be fulfilled. You’ve even come here, and it still cannot be fulfilled. Imagine how my heart suffers! Well, all that’s left is for you to decide whether you want to live or

373

Banowati? Åpå-åpå lho, kok ing semu kok nékad temen. Kok yå nékadé, kok yå nyedhak-nyedhak, mrepeki aku. Rådå, rånå rånå. Mrånå-mrånå! Lho, kok nyedhaki waé.

Mengko tå dhisik, aku bakal kåndhå, sawetårå waé. Lha iki tinimbang aku ora kasembadan anggoné andarbé panjångkå nduwé sisihan sliramu. Mandar wis tekan ing kéné. Lho, kok malah ora biså kasembadan. Ini kåyå åpå laraning atiku? Mulå iku. Wis ming kari milih, sukå mati

Act 1

208

åpå sukå urip. Tinimbang urip Banowati ora dadi garwaku, yèn aku sukå Banowati sisan gawé palastrå. Yèn isih seneng urip, mbok manut miturut tå marang aku. Nyuwun åpå, ndak sembadani.

to die. I would as soon have you put to death than be without you as my wife. If you wish to live, just yield and obey me. I’ll grant you anything, whatever you wish.

[Sulukan ada-ada laras pélog pathet nem] DHALANG : 1 1 11 1 1 1 1 1 Yèn ma-ti-å nèng ka-rang a-bang, 6 6 6 6 6 6 5-56 6 6 Lu-di-rå kang ma-nyem-bur nyem-bur, 6 1�-2�1�- 6 5 6 5 42 4 6-4545 Ga-gak ri-mang mu-ni-å ba-ngun, 6 6 6 6 6 6 6 6 6 É- kå si-ji dwi wa-tak nung-gal, 2 2 2 2 2 2 3 23 2-1 Nung-gal bu-mi-nya kang gu-ming-sir, 6 6 6 6 6 6 6 6 Å- nå pe-teng du-du ra-tri, 2 2 2 2 2 2 2 2-16̣ 6̣1-216̣ Å- nå pa-dhang du-du ra-hi- nå, 1 2 2 2 2 2 2 2 2 1 2 3-23121 6̣ Yå-i-ku pe-pa-teng-ing an-tå-kå la-yå, O... DHALANG: Death is a red place, From spouting blood, The sad crow calls to awaken, Unity in one by two aspects joined, Joined in a sinking world, There is darkness but it is not the night, There is light but it is not the sun, It is the darkness in the realm of death... O... JATIKUSUMA: There’s no other choice. You must pick one or the other. If you want to live, yield and obey me. I’ll give you anything you ask. But if you don’t care to live, so be it. I’ll cut

374

Iki wis ora kenå, ora. Kudu dipilih salah siji. Yèn isih butuh urip manut miturutå lawan Jatikusumå. Nyuwun åpå ndak sembadani. Nanging yèn wis sungkan urip, måså bodhoå.

Pathet nem your throat in only the space of a wink. In just the blink of an eye, I’ll slit your throat.

Jatikusumå nigas janggané Banowati ki, ming sakedhaping mripat, ming sakedhaping socå tigas janggamu. 375

TURANGGADHESTHI: É-é-é-éh! Doom and damnation! Queen Banowati, please, I beg you to consider this before my lord becomes cruel with you. BANOWATI: If that’s the way it is, hold on a minute, okay Prince?94 Just be patient!

209

376

É-é-é-éh! U-wélah dalah! Gusti Kusumå Dèwi Banowati, månggå, kulå aturi menggalihaken mbok ngantos gusti kulå tegå kalih panjenengan. Yèn kåyå ngono, mengko tå dhisik, yå Radèn? Sing sabar penggalihmu!

[Srepegam Mataraman laras pélog pathet nem] [Suwuk] BANOWATI: Hold on a minute, please Prince Jatikusuma? Prince, allow me to speak to you.

377

JATIKUSUMA: Hah, so that’s it. Now face me. My heart melts to see you, Lady Banowati, looking at me.

378

BANOWATI: Ah, ya... But don’t be in such a hurry, okay Prince? Since you mentioned it, I do have a request.

379

JATIKUSUMA: What do you wish, Lady Banowati? Bars of gold the size of papayas? Necklaces with chains as thick as logs? Don’t hesitate. Diamonds, emeralds, rubies the size of your fist are yours for the asking.

380

BANOWATI: That is not what I wish, Prince. Worldly riches bore me. Before I

381

94

Mengko tå dhisik, yå Radèn Jatikusumå? Radèn, kepareng aku matur karo penjenengan. Nah, kåyå ngono, madhep. Mak krenyes atiku nyawang Dhi Ajeng Banowati kerså mriksani aku. Isyå [iyå]...ning åjå kesusu, yå Radèn? Aku nduwèni panyuwun jumbuh sing dingendikakaké [diandikakaké] kuwi mau. Mundhut åpå, Dhi Ajeng Banowati? Mas gligèn ingkeng sakatès-katès gedhéné? Sangsangan kalung ingkang rantèné sebalok-balok gedhéné? Åjå sumelang barlian, jemerut, delimå, sing gedhéné sakepel-kepel. Ming kari ngendikå. Dudu kuwi sing ndak suwun, Radèn. Yèn dunyå, yèn båndhå, ki aku wis

My use of the word ‘okay’ here is to reflect Banowati’s change to a more informal and intimate Javanese in speaking to Jatikusuma.

Act 1

210

bosen. Kuwi mau yå tak aturaké. Senajan tå aku garwané Naléndrå Ngastinå, ning aku nduwé benahan, aku nduwé simpenan. Satriå sing bagusé ngungkuli penjenengané.

said that, though I’m married to the king of Ngastina, I have someone on the side, that I have a lover. A lord whose good looks exceed yours. JATIKUSUMA: Oh, ya? Who is it? Who is it?

382

BANOWATI: My very own cousin, Prince Janaka, Lord of Madukara.95

383

JATIKUSUMA: Then, this Prince Janaka, Lord of Madukara, is your lover?

384

BANOWATI: Yes, Prince, yes. It’s like this, Prince. If I were to obey and become your wife while my cousin Prince Janaka still lives, I couldn’t serve you in peace. I couldn’t serve you with all my heart because I’d always be thinking of my lover.

385

JATIKUSUMA: Well, what then?

386

BANOWATI: I’ll yield and obey you. So that I can serve you in peace, I mustn’t be tempted by my cousin JanakaPermadhi. I beg you with all my heart. Truly, Prince, if my wish not granted, I’ll kill myself. I’d prefer death to eventually becoming your wife and having you suffer because of my adultery.

387

JATIKUSUMA: Oh, so that’s it. Very good, very good, very good. And your wish, what is it?

388

95

O-yå. Såpå? Såpå? Kapernah kadangku anom dhéwé, yå kuwi Radèn Jånåkå, satriå såkå Madukårå. Lho. Satriå Madukårå Radèn Jånåkå ki simpenan Banowati? Isyå, Radèn, isyå. Mulané kåyå ngéné, yå Radèn? Yèn tå manut dadi garwané penjenengan, yèn Radèn Jånåkå adhiku isih sugeng, aku léh ngladhèni panjenengan ora tentrem. Aku léh ngladhèni panjenengan, iku kurang teleng ing ati amargå tansah éling marang simpenanku kuwi mau. Lha, njur kepriyé? Aku ndhèrèk manut miturut karo panjenengan. Supåyå anggoné ngladosi penjenengan penggalihku tentrem, åjå digodhå déning adhiku Jånåkå-Permadi. Aku nyuwun kanthi banget, tenan lho Radèn. Yèn ora nyembadani panyuwunku iki matiyå ndak lakoni. Aku sukå mati, tinimbang mengko aku dadi garwanmu. Njur penjenengan kelårålårå atiné amargå aku nyléwéng. O, dadi kåyå ngono. Bagus, bagus, bagus. Panyuwuné, kepriyé?

Prince Janaka (Radèn Janaka) is another name for Arjuna, one of the five Pandhawas.

Pathet nem BANOWATI: My lover and cousin, Prince Janaka, must be executed, he must be putto death first. He must be killed, Janaka must be killed. If only there were somebody who could be ordered to abduct Janaka. Once he was here, his throat would be slit and I would use his head as a stepping stool when I climb into bed with you, Prince!

389

JATIKUSUMA: Oh my, oh my, oh my, oh my, oh my!

390

211

Simpenanku Radèn Jånåkå, yå adhiku kuwi, dipatèni dhisik. Dipatèni, Jånåkå dipatèni. Wis ora ånå utusan såpå supåyå ndusthå Jånåkå, mengko nèng kéné jånggå ditigas. Sirahé Jånåkå bakal kanggo ancik-ancik yèn aku bakal mapan saré karo penjenengan, Radèn.

Adhuh, adhuh, adhuh, adhuh, adhuh!

[Sulukan sendhon laras sléndro pathet nem] [Céngkok Ki Sugino Siswocarito] DHALANG : 6 5 3 6 5 3 2-12 3 1 3 Mus-ti-ka-ning na-rén-drå tå-må, É... 3 3 3 3 3 5-3 321 6̣ Bèr-bu-di bå-wå lek- så- nå, CHORUS : 56 3 5656 3 1�3� 2�1�6 3-5321 6̣ Ang-ge ngga- njar sa- ben dinå, CHORUS : 3 3 3-5 2-6 53 532 121 6̣ A- ne-tep- i pa- ngan-di- kå. DHALANG: The words of the king are potent, Filled with generosity and truth, CHORUS:

He rewards his subjects each day, And stands by his words,

JATIKUSUMA: Uncle Tenung Turangga[dhèsthi].

391

TURANGGADHESTHI: U-u-u-u-uh, doom and damnation! Your command, Prince?

392

JATIKUSUMA: My thoughts are clear and bright after hearing Lady Banowati’s request.

393

Paman Tenung Turånggå[dhèsthi]. U-u-u-u-uh, élah dalah! Dhawuh, Radèn? Padang panrawangan, pådhå sanalikå penggalihku sawisé aku midanget panyuwuné Dhi Ajeng Banowati kuwi mau.

212

Act 1

TURANGGADHESTHI: Indeed.

394

JATIKUSUMA: Repeat what she said to me to make sure I haven’t misunderstood.

395

TURANGGADHESTHI: Queen Banowati requested that Prince Janaka be abducted and brought here where his throat is to be slit.

396

JATIKUSUMA: That’s correct. And then what?

397

TURANGGADHESTHI: The head of Prince Janaka is to be used as a stepping stool for her to climb into bed with you.

398

JATIKUSUMA: I can’t tell you how relieved I am, Uncle. Hm-hm-hm-hm-hm-hm...

399

TURANGGADHESTHI: Indeed. Well, what if the bed is on the floor, then what? Would you still use it as a stepping stool?

400

BANOWATI: Well, maybe not. Well, as a pillow.

401

TURANGGADHESTHI: Oh, as a pillow? Ha-ha-ha-hah! Indeed, indeed. Ha-ha-ha! I’m at your command, Prince, what do you wish?

402

JATIKUSUMA: Though it may be pitch dark, leave today without fail or excuse. Don’t return before you’ve abducted Prince Janaka. I’ll slit the throat of Janaka myself so that my future wife, Banowati, may be my witness.

Inggih! Kepriyé tå mbok nganti kesliru léhku mirengna mau? Gusti Banowati mundhut bebånå. Radèn Jånåkå kapurih dipun dhusthå kabektå ing mriki, ing mangké wonten mriki kapurih dipun tigas jangganipun. Iyå bener, pådhå kuwi. Lan njur, kepriyé? Sirahipun Radèn Jånåkå badhé kanggé ancik-ancik menawi badhé minggah saré wonten ing tilam rum sareng kaliyan penjenengan. Åpå ora lega atiku, Paman? Hm-hmhm-hm-hm-hm... Inggih. Lha upami keleres anggènipun saré wonten lantai, kepripun? Nåpå nggih nggé [kanggé] ancik-ancik? Yå ora, yå kanggé kajang sirah! O, kanggé ajang [kajang] sirah? Ha-ha-ha-hah! Inggih, inggih. Haha-ha! Kulå ndhèrèk kersanipun penjenengan, Radèn. Kados pundi? Peteng ndhedhet sambung ånå obor, lumaku lunyu, thekluk-thekluk [theklak-thekluk], kok lakoni tekenan oman, mangkåtå dinå saiki. Kowé åjå mulih yèn durung biså ndhusthå Radèn Jånåkå. Ingkang bakal nigas janggané Jånåkå mengko aku dhéwé anèng kéné supåyå kaseksèn déning Banowati binah garwaningsun.

Pathet nem TURANGGADHESTHI: Certainly, Prince, I ask you to add your blessings.

404

213

Kawulå nun [nuwun] inggih, nyuwun tambahing pangèstu, Radèn.

[Srepegan Lasem Mataraman laras sléndro pathet nem] JATIKUSUMA: Take care, Tenung Turanggadhèsthi.

405

TURANGGDHESTHI: Aye.

406

Sing ati-ati, Tenung Turånggådhèsthi.

Inggih!

[Sirep] JATIKUSUMA: Dear Banowati?

407

BANOWATI: Prince Jatikusuma, what is it?

408

JATIKUSUMA: Please rest in the women’s quarters while you wait for Tenung Turanggadhèsthi to return from his task. If you wish to dine, command Lady Jamang Raras, she is ordered to be your companion. If you wish a change of clothing, just say so.

409

BANOWATI: I’ll do whatever you command but don’t you forget: until you cut the throat of Arjuna, don’t you dare approach me.

410

JATIKUSUMA: Of course, of course. I would never be so ill-mannered.

411

Dhi Ajeng Banowati? Radèn Jatikusumå, kepriyé? Sinambi anganti pisowané Paman Patih Tenung Turånggådhèsthi ingkang lagya pinitåyå, Dhi Ajeng, tak aturi ngaso anèng jatulåyå. Kerså mundhut dhahar åpå marang Ni Mban Jamang Raras ingkang wis tinanggenah angladosi lawan Dhi Ajeng. Kerså ngagem busånå sing kåyå åpå, ming kari ngendikå Aku manut miturut karo penjenengan nanging wanti-wanti. Yèn durung ånå nyatané tigasing janggané kadangku Arjunå, penjenengan åjå wani-wani mrepeki marang aku. Iyå-iyå, ora-orané aku bakal nerak trapsilå.

[Udhar] TURANGGADHESTHI: Togog, come here, Togog!

412

Togog, mréné Togog!

[Suwuk]

214

Act 1

TURANGGADHESTHI: É-é-é-é-é-éh! U-u-u-u-uh, doom and damnation! Togog and Sarawita, I have sent for you. Do you know what I want, Togog?

413

TOGOG: Your humble servant Togog is here. What is it, Lord Counselor Tenung Turanggadhesthi?

414

SARAWITA: Never before have you summoned us lowly servants. What rewards are we commanded to accept, Lord Counselor?

415

TURANGGADHESTHI: Patience, Sarawita. You won’t be receiving any rewards from me. There’s a weighty task I want to tell you about, Togog and Sarawita.

416

TOGOG: A weighty task, what kind of task, Lord?

417

TURANGGADHESTHI: After Kusuma Dèwi Banowati unexpectedly arrived at the Palace of Jongparang, Gog, she agreed to marry my lord Jatikusuma. But she made a stipulation, she had a demand. She demanded that a handsome young lord, Prince Janaka of Madukara, be abducted and brought here where his throat is to be slit. The head of Janaka will be used as a stepping stool for Queen Banowati to climb into bed with my lord, Jatikusuma.

418

É-é-é-é-é-éh! U-u-u-u-uh! Elah dalah! Togog lan Såråwitå, ndak awé mrepek marang aku. Ngerti keng dadi karepku, Togog? Abdidalem Togog sowan kados pundi, Gusti Patih Tenung Turånggådhèsthi? Mboten naté-naté ingkang abdi dipun awé. Kapurih nampi ganjaran punåpå, Gusti Patih?

Sabar, Såråwitå. Ran-orané [oraorané] aku bakal maringi ganjaran marang kowé. Ndak ngertèni iki ånå pegawéan ingkang awrat, Togog lan Såråwitå. Wonten pedamelan awrat, pedamelan punåpå, Gusti? Sawisé Kusumå Dèwi Banowati teka anèng Kraton Jongparang ora nyånå-nyånå, Gog [Togog]. Kusumå Dèwi Banowati kerså digarwå déning gustimu Jatikusumå, nanging kagungan bebånå, kagungan pamundhut. Ingkang dipun pundhut, satriå pekik Radèn Jånåkå såkå ing Kasatrian Madukårå supåyå didusthå digåwå reng [marang] Negårå Jongparang kéné, ing mengko bakal ditigas janggané. Sirahé Jånåkå bakal kanggo ancik-ancik yèn pinuju Gusti Banowati mapan saré lawan gustimu, Jatikusumå.

Pathet nem TOGOG: [Singing:] trouble, trouble...trouble... trouble,trouble... trouble, trouble.

419

215

TOGOG: 2 2 2 2 A-lang-a-lang [a-lah a-lah] 2 2 2 3 12 16̣ a-lang a-lang a-lang, 35 3 321 6̣5̣3̣2̣ a-lang- a- lang.

SARAWITA: Hah-hah-hah-hah-hah! What a guy, your melody seems to be sagging.

420

TOGOG: Ah, this guy. You’re always like that, Rita [Sarawita]. So, if there’s gonna be a job like that, what about it? Why, even the Kurawas could follow us here to Jongparang to attack us, if they wanted to, and the kingdom would fall. And he wants to abduct Prince Janaka. Oh boy. This one, this one here, Rita. It sure is quite a weighty job.

421

TURANGGADHESTHI: Enough, you don’t need to say anything more, Gog.

422

SARAWITA: What’ya mean?

423

TURANGGADHESTHI: Well, I have to leave the Kingdom of Jongparang and you two will come along with me because I don’t know the way to the Madukara, Togog. You must know, I’m sure.

424

TOGOG: Hey, I know. Of course I know. What d’you think, I wouldn’t know even if it’s only in Ngamarta? Oh boy do I know!

425

SARAWITA: He really knows, that Togog.

426

Hah-hah-hah-hah-hah! Kiyé wong kepriyé dènèng nglembèrèh. O, kiyé. Kåyå kiyé, Ritå [Såråwitå]. Angger arep ånå pegawéan kåyå kiyé, kepriyé? Enggané wong sedheng arepé mengko Kuråwå nusul maring Jongparang, upamané kéné menangå yå negårå yå rubes. Malah kiyé Gusti Patih arep dhusthå Radèn Jånåkå. Ala-lah. Kiyé, kiyé nèng kéné, Ritå. Kiyé pegawéan sing abot.

Uwis, kowé ora usah omong åpå-åpå, Gog. Pripun? Ingkang cethå aku budhal såkå ing Pråjå Jongparang. Aku didhèrèkaké déning kowé sakloron, awit aku lali prapas anjog marang Kasatrian Madukårå, Togog. Kowé kudu apal, kuwé [kowé]. Nggih [inggih], apal si, nggih apal. Lha, mboten apal kepripun, menawi naming wonten Ngamartå mawon? Alah apal-kecepal? Jan apal, Kang Togog.

216

Act 1

TURANGGADHESTHI: Ya. That’s because you’re old, and travelled far, eh Gog?

427

TOGOG: Sure, I know the way to Ngamarta, the way to the abode of the gods, I know ‘em all. I sure do. I’ve been around since before you guys were born. Why, my age is measured in eight-year-cycles.

428

TURANGGADHESTHI: It’s a fact that, if your age were calculated, it’d really be a lot, eh Gog?

429

TOGOG: Aye. And I’m not bragging if I say that I was around before there was the earth and the sky.

430

SARAWITA: Hah-hah-hah-hah-hah! What a lot of humbug, it’s shocking. Actually, it’s really quite silly.

431

TOGOG: What do you mean, it’s silly? What d’you mean by that?

432

SARAWITA: You were around before there was the earth and sky?

433

TOGOG: I was!

434

SARAWITA: Hah-hah-hah-hah! Then, what did you stand on?

435

TOGOG: Who, me? Well, I stood in a house.

436

SARAWITA: Then what was the house standing on?

437

Iyå, mengkono kuwi amargo kowé wis akèh umuré, wis adoh lempaté [lumpaté], Gog! Inggih. Lha, punåpå malih naming Ngamartå. Mbok ko [kok] nang kayangan niku kulå mpun [sampun] apal sedåyå. Lha inggih, wong. Dèrèng wonten penjenengan mpun wonten kulå. Umur kulå mpun taker windhu [windu]. Pancèné yèn diétung umurku kuwi akèh temenan, Gog! Inggih. Wong kulå mboten saweg kungas [kongas]. Dèrèng wonten bumi langit kulå mpun wonten. Hah-hah-hah-hah-hah! Kiyé wong lha båså ngomong, lha maraknå kaget! Jan, dadi kejutan giyé [kiyé], kuwé. Lho, dadi kejutan, suk [si] kepriwé? Kok, kanan-kanané pengrungonmu, kepriwé? Urung [durung] ånå bumi-langit rikå wis ånå? Wis ånå! Hah-hah-hah-hah! Lha, rikå temumpang [tumumpang] neng ngendi? Såpå? Yå, neng njero umah inyong. Lho, umahé temumpang ngendi?

Pathet nem TOGOG: Oh boy, Oh boy! This guy...

438

SARAWITA: You say that, before there was the earth and the sky, you lived in a house. So where was the house standing?

439

TOGOG: The house was standing on the tip of a bamboo stalk, you devil!

440

SARAWITA: Oh, hah-hah-hah-hah! Then, where was the bamboo stalk planted?

441

TOGOG: The stalk wasn’t growing anywhere! Uh...the stalk uh...was standing on a cottage, understand?

442

SARAWITA: Oh, so the stalk was standing on a cottage. Then, where was the cottage standing? There you go, you thought you could give me the runaround there. If it wasn’t standing on the earth, you can cut my head off.

443

TOGOG: Are you ready to lose your head? Ah, the cottage was standing on a satelite!

444

SARAWITA: Hah-hah-hah-hah! This guy never gives in, this guy!

445

TOGOG: Quiet! A guy like that, he just keeps hounding me.

446

SARAWITA: Well, until I make my point, I don’t stop hounding!

447

217

Ala-la-lah! Kiyé bocah... Jeré [jaré] wong urung ånå bumi urung ånå langit. Rikå uripé neng njero umah. Umahé temumpang endi? Umahé temumpang neng pucuk pring, sétan! O, hah-hah-hah-hah! Lha pringé anu ditandur neng ngendi? Pring ora ditandur! Anu...pring anu... temumpang neng gubug, ngerti?

O, dadi pringé temumpang gubug. Lha, gubugé temumpang ngendi? Ngonoh mubeng-mubeng, ngonoh. Jenji ora temumpang lemah kethok guluku!

Wani kethoken [kethokan] gulu? O, gubugé temumpang neng satelit, ngerti? Hah-hah-hah-hah! Ki jan wong wegah kalah, kiyé wong. Brisik! Wong ko [kowé] kadaran kåyå kuwé beku [bekoh=tok]. Dioyok-oyok terus! Pèndhèkèn, aku åpåå angger ngoyokoyok urung kenå, urung lèrèn, inyong!

218

Act 1

TOGOG: How’d you like an elbow in the gut?

448

SARAWITA: Oh ya? Well, I’ll give you a kick in the back of your knee.

449

TOGOG: What humbug, you wouldn’t kick an elder.

450

SARAWITA: I’d knock you down and trample your neck!

451

TOGOG: Good grief! Easy, Rita! What terrifying words you speak.

452

SARAWITA: Ha-ha-éh. That’s just a bluff. Afterwards, who knows? If the other guy weren’t easy to bluff, I wouldn’t do it.

453

TURANGGADHESTHI: Well, do you know the way, Gog?

454

TOGOG: Sure.

455

SARAWITA: He’s just guessing. I know the way better than Togog does.

456

TURANGGADHESTHI: You know the way, Sarawita?

457

SARAWITA: Of course.

458

TOGOG: Ah, quit bragging! I’ve been around before you ever showed your face. The best you could do is just to imitate me! SARAWITA: Well, your kind of knowing is all vague. My knowing is a lot different than yours.

459

460

Sikut ngéné, dhadhamu! O, tak cilekodhok [cilakodhok] ngéné, cengklokmu. Ko beså [båså] ngomong, lha wong tuwå ko dicilekodhok. Tiba tubruk sisan gawé, idek-idek cengelé. Ålå-ålå [alah-alah]. Wis, Ritå lha! Ngomong ko medéni ko. Hah-hah-éh. Nggo [kanggo] grentak [gretak] kåyå kuwé, mengkomengkoné si, yå embuh. Angger ora simpé [limpé] temenan, yå emoh. É-é-é-é-é-éh! Dadi, kowé wis apal, Gog? Inggih. Kari apal, si. Apal kulå kalih Kang Togog. Apal kowé, Såråwitå? Inggih. Kok åjå umuk! Urung ånå raimu wis ånå inyong. Seapal-apalmu madhamadha aku.

Kiyé, rikå tuli apal mung émutémuten. Apal inyong karo apalé rikå, kuwé séjèn [séjé].

Pathet nem TOGOG: Why?

461

SARAWITA: No matter what the roads are like, if you’re not a driver, you couldn’t know the way as well as I do. Only a driver could know the way, ya know?96

462

TOGOG: What are you talking about, ‘­driver’?

463

SARAWITA: Well, I once had a job driving to Ngamarta, as a driver, ya know? Bus driver, ya know?97

464

TOGOG: Bus driver?

465

SARAWITA: Yaaa. Bancar Road to Klahang, ya know?98

466

TOGOG: Oh lord, lord, lord. You drove from...

467

SARAWITA: Yaaa. From Bancar all the way to Klahang, that’s me. Now, d’ya understand?

468

96

219

Sababé [sebabé]? Dalan kuwé arepå kåyå ngåpå angger dudu supir? Kuwé sih [isih] kalah. Mesthi sing apal supir, ngerti?

Lho, kok ngomong supir si, kepriwé?

Mbok inyong tau ngodhé nang Negårå Ngamartå, dadi supir, ngerti? Supir travel, ngerti? Supir travel? Iya. Jalan Bancar aring ané [anu] Klahang, ngerti? Åla-la-la-la-lah! Jalan...anu sekang [såkå ing]... Iyå, sekang Bancar anjog Klahang, kuwi inyong. Ngerti kok?

My use of the phrase, ‘ya know’, (translated from the Javanese word ngerti tagged at the end of his sentences) is to reflect Sarawita’s change to a youthful slang (evoking the young drivers and conductors of intercity buses). 97 What I translated here as ‘bus’ is actually a kind of small van known generically as kol travel (the term perhaps derived from the name of a particular model) or simply travel, a form of local public transportation. Most of these vans are owned and operated by small-time entrepreneurs (usually two young men: one is the driver and the other acts as ‘conductor’) who aggressively search for passengers along the way, cramming an astounding number inside, along with packages, luggage, and sometimes even farm animals. Cities in Java also operate such small vans, or larger buses, but the travel is used for journeys between hamlets and towns. Larger private companies also own and operate buses for intercity travel. All are exceedingly dangerous, moving at incredible speeds and making sudden jarring stops. 98 Bancar is a village in northern Purwokerto (it is adminstratively part of the city) while the hamlet of Klahang is about fifteen kilometers west of Purwokerto on a road that runs northwest to Purbalingga. Through this exchange between Togog and Sarawita, the story is given a local – and humorous – twist.

220

Act 1

TOGOG: Oh, that kind of bus, kid. A long time?

469

SARAWITA: Yaa, a long time. I got hired on the thirtieth of January and then on the first of April they fired me.

470

TOGOG: Ya, quite a while.

471

SARAWITA: Quite a while.

472

TOGOG: How did you get fired?

473

SARAWITA: I didn’t have the right kind of ­driver’s license.

474

TOGOG: Your driver’s license wasn’t right?

475

SARAWITA: It wasn’t right.

476

TOGOG: What wasn’t right about it?

477

SARAWITA: If you wanna fondle a bust, you need a class B license.

478

TOGOG: Fondle a bust...?

479

SARAWITA: Honda bus!99

480

TOGOG: Oh, Honda bus, he says Honda bus but I’m hearing ‘fondle a bust’. You need a class B license for a Honda bus?

481

O, travel kiyé, bocah. Lawas?

Yå, lawas. Mlebu dibenum tanggal telung-puluh Januari, banjuran tanggal siji April ditokenå [ditokaké] inyong kok. Yå, mandan suwé. Mandan suwe. Golé [=sebab] ditokna? Ora cocok ‘SIM’é.

‘SIM’é ora cocok? Ora cocok. Sing ora cocok, kepriwe? Nyekel susu kuwi ‘SIM’é kuduné ‘SIM B’, ngerti? Susu...?! Izuzu! O, Izuzu. Wong ngomong Izuzu mung susu tok, kok! Nyekel Izuzu kiyé kudu ‘SIM B’?

99 The entire joke revolves around the expression, nyekel susu (literally, ‘to grasp a breast’). In the original Javanese dialogue the word susu (‘breast’) is humorously confused with Isuzu, a common automobile in Indonesia.

Pathet nem SARAWITA: Yaa.

482

TOGOG: So, what kind of driver’s license do you have?

483

SARAWITA: Class A.

484

TOGOG: Oh... What humbug he speaks. I better just leave him be, this guy’s possessed by the devil.

485

SARAWITA: Hey! You just said I was possessed, didn’t you!

486

TURANGGADHESTHI: Enough, enough, Togog Wijanamantri and Sarawita. Stop talking such trivial stuff. You will follow my shadow when I fly in the air. If you think I’m getting off course, signal to me from below.

487

TOGOG: Aye.

488

TURANGGADHESTHI: Take care, Gog. If there’s someone guarding Madukara, better let me stomp him first or else you could get attacked. Don’t get yourself hurt trying to do something foolhardy.

489

221

Iyå. Lho, kowé ‘SIM’é åpå?

‘SIM’ as. O... Crondholo [trondholo] kiyé båså ngomong. Mpun, joraken mawon. Niki bocah saweg kesurupan. Eh! Kok ngarani kesurupan, yå!

Uwis-uwis, Togog Wijånåmantri lan Såråwitå. Åjå kakèhan rembug sing ora-ora, yå? Kowé ngetut-mburi layanganku, aku tak napaking dirgantårå. Yèn kira-kira aku keplacas [keplancas] lakunée, kowé ngawé såkå ing ngandhap. Inggih! Sing ati-ati, Gog. Mbok nganti ånå penjagan ing Madukårå, mundhak kedugang ndhisik. Kudu luwih dhisik ndugang aku. Åjå nganti kedhinginan sukå ndhingini.

[Srepegan Dugangan Banyumasan]100 [laras sléndro pathet nem] TOGOG: Aye, fare you well, Lord.

100

490

Inggih, kulå ndhèrèkaken Gusti.

The term dugangan refers to the act of kicking. The srepegan by this name is is a traditional Banyumas piece for wayang kulit and accompanies ogres and certain warriors preparing for battle. The dhalang cued this composition with the words ‘...mundhak kedugang ndhisik... luwih dhisik ndugang aku...’

Act 1

222

[Suwuk] [Sulukan ada-ada Mataraman] [laras sléndro pathet nem] DHALANG : 6 1� 2� 2� 2� 2� 2� 2� Si-grå bå-lå kang tu-mi-ngal, 2 3 5 5 5 6 61�56 5 2�1�6 A- cam-puh sa-myå me-da- li, O... 5 5 5 5 5 5 5 5 Lir tha- thit wi- let- ing gå- då 3 1-26̣ 3 3 3 3 3 3 Mun-car- nyå ma-ngun-dhå ni-ti, 2 2 2 26 6 62 �2�2\ � 6-5 \ Mbén-jang sang a- ji mi- jil, 3 3 3 3-5 3 \ 2 2-12 3 La-thi-nyå nge- dal-i wu-wus.

[Sabetan balungan kréasi] Balungan

: · 2 2 5 2 3 5 6 1� 2 6 3 6 5 3 2

DHALANG : Balungan

5\ O...

3

5\ 3

2

: · · 2 1 3 2 1 6̣

DHALANG :

6̣ O...

DHALANG: Suddenly an army was visible, Struggling to emerge together, Like lightening the snarl of bludgeons, Sparkled as they were brandished for battle, And then the great king emerged... É... From his lips came forth words... O... DHALANG: Afterwards, Turanggadhesthi entered the domain of the Kingdom of Ngamarta, his plan was to travel secretly, like a thief in the night, and abduct Radèn Janaka. Thus, this part of our story concludes and continues near

491

Lepas Patih Tenung Turånggådhèsthi lebeting tlatah Negari Ngamartå badhé lampah telik duratmaka ndhusthå Radèn Janåkå. Sinigeg kang murwaning kandhanunggil panggung sanès panggènan

Pathet nem the borders of the ancient Kingdom of Ngamarta where the prince of Jodipati, Radèn Gatotkaca, flew through the skies like a bird, around and around as if on a great wheel.101

223

nunggal wekdal ingkang wonten pundi ugi wonten saluhuring tapal [tapel] watesing Negari Ngamartå. Putrå Njodipati, Radèn Gatotkåcå, malang-miling [milang-miling] kåyå jangkung mubeng kanges [kènges] kåyå jantrå.

[Srepegan Lasem Mataraman laras sléndro pathet nem] [Sirep] DHALANG: Such was the crown prince, King of Pringgandani, the young lord, Gatotkaca. He was a great warrior, invincible in battle. His magically invulnerable body could not be hurt even by a blacksmith’s hammer, or pierced even by the sharpest of weapons. He was known as Gatotkaca, Purbaya, Jayatalatu, Bajuljamang, Tetuka, Indratmaja. While he was guarding the lands below he spied a large tree and landed.

492

Punikå warnané sang Prabu Anom Naléndrå Pringgandani, sang Prabu Anom, ya Radèn Gatotkåcå, satriå jayèng palugon. Slira tan tedas mring [maring] tapak paluning pandhé, sisaning grèndå [gurèndrå], tan tedas maring bråjå lungid, tinatah mendat jinårå mésem. Yaiku kang kekasih Radèn Gatotkåcå, yå Radèn Purbåyå, yå Radèn Jåyåtålatu, yå Radèn Bajuljamang, yå Radèn Tetukå, yå Radèn Indratmåjå. Nalikå samono ngulat mangandhap medhak saking dirgantårå kandheg wonten sakngandhaping mandérå [mandirå] agung.

[Udhar] [Suwuk] DHALANG: He stood for a while straight and silent, like a godly statue, and then seated himself under the great tree, to rest his weary body. Purbaya [Gatotkaca] spoke to himself:

101

493

Ngubleg-ubleg kados tugu sinukartå, Radèn Gatotkåcå dèrèng kepareng ngendikå awit lenggah priyånggå wonten saandhaping mandérå [mandirå] agung sinambi ngupadi sesulih lungkrahing slirå hangendikå [angandikå] sajroning penggalih sang purbåyå.

Gatotkaca and several other characters (including the ogres Turanggadhesthi and Turanggamaya) have the ability to fly, often depicted with wing-like appendages on their backs. The term radèn is a title, meaning that Gatotkaca is a prince. His father, Bima (Wrekudara), is king of Jodipati.

224

Act 1

GATOTKACA: Waah, hmm. Weighty indeed are the commands of Uncle [Kresna], king of Ndwarawati. And there is the palace of Ngamarta, overgrown with jungle, Uncle [Puntadéwa] has become an ogre, my father a large diamond-eyed elephant, Uncles Nakula and Sadéwa two white forest deers, and Uncle Janaka fallen deathly ill. Uncle [Kresna], king of Dwarawati, commanded me to search for a boy, a young man named Srenggini. The reason why is that Srenggini is the son of Father [Bima], he’s my half-brother.

494

Yes, I remember that day when a young boy arrived at Jodipati and claimed to be the Father’s son. At that time Father was sick and Srenggini was commanded to search for medicine to give to Father. And Father recovered, showing that Srenggini could find the medicine to heal Father. After Father recovered, Srenggini found the clothes that Father once lost. After that, he was supposed to be recognized as Father’s son, but then Priest Durna came to Jodipati. He pursuaded Father not to recognize Srenggini as his son because Srenggini resembled a crab-like creature. Father followed the advice of Durna and finally beat Srenggini.102

495

Kélingan duk nalikå samono pancèn ånå cah [bocah] nonoman kang tekå sowan ing Jodipati ngaku sudarmå lawan bapakku, Wrekådårå. Nalikå samono Bapak lagi gerah. Srenggini dipercåyå nggolèk tåmbå kanggo srånå Bapak biså waluyå jati waras. Klakon Srenggini bisa nggolèk tåmbå kagem njampèni Bapak duk nalikå samono. Sawisè Bapak waluyå jati saras [waras], Srenggini bisa nemokaké agemané Bapak kang murcå nalikå samono. Sawisé bakal diaku putrå déning Bapak, kebener Éyang Pendhitå Durnå rawuh aning Jodipati ing wusånå atur bebujuk marang bapakku. Srenggini ora kenå diaku putrå awit bocah mirip kåyå déné kéwan cilik kang rupané yuyu. Bapak manut miturut lawan ngendikané Éyang Pendhitå Durnå ing wusånå Srenggini malah diperwåså déning Bapak.

After he was beaten, Srenggini ran away to return to his own land. But, alas, I don’t know where

496

Sawisé Srenggini diperwåså déning Bapak, Srenggini minggat mulih marang déså panggonané.

Wah, hmm. Awrat léhku ngemban dhawuh peparing Wå [uwå] Nåtå Ndwåråwati. Anané Kraton Ngamartå thukul glagah pengalangalangan, Uwå Sinuwun dadi rasekså, bapakku dadi gajah putih nétrå kumålå, Paman Nakulå-Sadéwå dadi kancil putih, Paman Pangèran Janåkå gerah mådyå sirnå. Wå Nåtå Ndwåråwati utusan aku supåyå nggolèk bocah nonoman [nomnoman] ingkang jeneng Srenggini. Awit Srenggini iku atmajané Bapak. Kelebu nunggal båpå bédå ibu kalayan [kaliyan] aku.

102 The events being related here are from the story, Srenggini Takon Bapa, of which this story, Srikandhi Mbarang Lènggèr, is a continuation.

Pathet nem Srenggini went... According to my cousin Wisanggeni,103 Srenggini is truly of the same father as me. Wah, Srenggini. Where did you go, little brother?

496

DHALANG: Such were the thoughts in the mind of Gatotkaca as he rested his tired body after his long search. Looking up to the heavens he saw that there was an ogre flying nearby, his waistcloth tucked up and tied around the hips, his clothes tightly fitted. Gatotkaca quickly flew off into the heavens to follow.

497

225

Nanging kok aku ora cethå Srenggini kuwi neng endi? Yèn ngono anut Wisanggeni kadangku mulå bener yèn Srenggini kuwi tunggal sudarmå lawan aku. Wah, Srenggini, kowé nang endi, Dhi? Nalikå samono ngendikå sajroning bathos Radèn Gatotkåcå sinambi ngupadi sesulih lungkrahing slirå. Ngulat manginggil mirsani wonten denåwå leliweran, cancut tali wåndå, ageman sarwå dipun singseti. Gatotkåcå kemleter napaking dirgantårå.

[Sampak in Solonese style laras sléndro pathet nem] [Kombangan dhalang] [Palaran Asmarandana laras miring]104 [Continues with Srepegan in Solonese style laras sléndro pathet nem]

DHALANG : 6 O...

[Sirep] DHALANG: Gatotkaca was clever, deft, and quick to act. He suddenly seized the ogre and brought him down to earth. Using his cleverness and quick wit, Gatotkaca

103

498

Radèn Gatotkåcå cukat, trampil, trengginas, pratitis. Nalikå samono rasekså énggal cinandhak kabektå medhak wontening pratiwi. Kanthi

Wisanggeni is the son of Arjuna and the goddess, Dresanala, daughter of Bathara Brama, and therefore a cousin of Gatotkaca. In Banyumas, Wisanggeni is a popular character who often helps his father and the other Pandawas with his godly powers. 104 The text to this palaran is translated as follows: A host of soldiers was visible, Retreating from the battle, Their cries were thunderous, Rising to the sky, As some fled in panic, And others struggled together, To return to the war.

Act 1

226 was able to learn about this giant’s origins.

498

akal pambudi-dåyå, ing pangajab Radèn Gatotkåcå badhè ngertosi denåwå saking pundi!

[Udhar: Sampak in Solonese style]105 [laras sléndro pathet nem] [Sounds of battle] TURANGGADHESTHI: U-u-u-uh. Uh! É-é-éééh!

499

U-u-u-uh. Uh! É-é-é-é-éh!

[Kendhangan Kéjèk] [Suwuk] TURANGGADHESTHI: É-é-é...é-é-é-é-é-éh! U-u-u-u-u-uh! Élah dalah! This young man, strong of body, with glittering and glistening clothes, truly great is his power, é-é-é-éh! He catches and holds me, pulling me down to the earth, éh-éh! Foolhardy and futile is his attempt to stop me. What is that you want? É-é-é-éh!

500

GATOTKACA: Alright, out with them! Give back the sheep you stole. I don’t like it! Give back the sheep you stole. Take care, or I’ll bash your brains out!

501

TURANGGADHESTHI: Ala-la-la-lah! Don’t be ill-mannered, don’t be hasty, don’t be stupid, don’t be foolish, young prince. How dare you, pointing your finger

502

105

É-é-é...é-é-é-é-é-éh! U-u-u-u-u-uh! Élah dalah! Anå bocah nonoman [nom-noman] lagyå gemebeg [gumebeg] slirané busanané kemrampyang-kemrompyong [kumrampyang-kumrompyong] pating kerlop, pating kerlip, gedhé temen prabawané, é-é-é-éh! Nyandhak denrangkul [dirangkul] aku didhunå [didhun] anèng bumi, éh-éh! Wani-wani siyå-siyå magak [menggak] lawan karepku. Apå sing dadi karepmu? É-é-é-éh!

Wis ayo walèh waé. Balèkaké wedhus sing kok colong. Ora gelem. Mbalèkaké wedhus-wedhus kok colongi. Awas, jotos endhasmu! Ala-la-la-lah! Ajå sembrånå, åjå kesusu, åjå ngawur, åjå ngåcåwårå, wong bagus. Lho, kok temekan nuding-nuding ndakwå lawan

Sugino signals the group to become loud again by requesting sampak (cued by knocking three times loudly on the puppet box: short-short-long

Pathet nem at me, accusing me, saying I’ve been stealing sheep?

227

aku dianggep aku mentas nyolong wedhus?

GATOTKACA: I don’t like it. Give ‘em back, the mutton, the sheep. Beware, or I’ll tear your mouth apart!106

503

TURANGGADHESTHI: Where’s the evidence that proves I stole sheep?

504

GATOTKACA: I represent the villagers whose sheep have been lost, taken, carried off every day and every night by an ogre. It can only be you who’s been stealing the villagers’ sheep. Come on, come clean, give ‘em back. I don’t like it. Give ‘em back or I’ll tear your mouth off!

505

TURANGGADHESTHI: É-é-é-éh! U-u-u-u-u-uh, élah dalah! Oh, this human is very stupid indeed. Just because I’m an ogre, he thinks I’ve been stealing sheep. U-u-u-u-uh! Where’s your proof? Where are your witnesses?

506

GATOTKACA: No proof, no witnesses. [I know] because of my supernatural sense of smell.107

507

TURANGGADHESTHI: You have a supernatural sense of smell?

508

Ora gelem. Mbalèkaké wedhus, méndhå-méndhå sing kok colong. Awas, bledhag lak-lakmu. Ketemu pirang perkårå aku didakwå nyolongi mèndhå? Aku kajibah déning wong-wong ing padésan ingkang pådhå kélangan mèndhå. Mèndhå pådhå ilang, sing njukut, sing ngåwå saben dinå, saben wengi. Yèn wis limpé kuwi rupané butå. Mesthi kowè sing mentas nyolong mèndhå-mèndhå duwèké wong padésan. Hayo [ayo], walèh, balèkaké, ora gelem. Balèkaké, bledhag lak-lakanmu! É-é-é-éh! U-u-u-u-u-uh, élah dalah! O, iki menungså ngawur banget. Dumèh aku butå dianggep mentas nyolongi mèndhå. U-u-u-u-uh! Buktiné mendi [ngendi]? Seksiné såpå? Tånpå bukti, tånpå seksi. Måwå dasar aku matak [mantak] aji pengambu.

Kowé matak aji pengambu?

106 Sugino uses both the formal and informal words for sheep (méndha and wedhus, respectively) in the same sentence. Rasito commented that Sugino sometimes does this to make sure his audience learns the formal word. Indeed, many people I spoke with stated that they like Sugino because they felt he was easier to understand than other dhalang. 107 This is, of course, simply a trick by Gatotkaca to learn more about the ogre and what he is planning.

228

Act 1

GATOTKACA: A supernatural sense of smell.

509

TURANGGADHESTHI: Ha! So, what of it?

510

GATOTKACA: With my supernatural sense of smell, I found you. You smell like a thief and that means you stole the sheep!

511

TURANGGADHESTHI: Ala-la-la-la-lah. Ha-ha-hah! Oh, so I smell like a thief because of your supernatural sense of smell?

512

GATOTKACA: Deny it and I’ll bash your head in!

513

TURANGGADHESTHI: Hold on, young man. If I’m caught by your supernatural sense of smell, your magical nose, and I smell like a thief, I’ll own up to it. I’ll explain, young man. I’m an ogre, sure. But I’m an ogre who is prime minister of the Kingdom of Jongparang and I’m called Tenung Turanggadhesthi. I won’t deny that I am indeed about to commit an evil deed, about to steal, but I don’t intend to steal wordly posses sions. I’m going to steal a warrior of Madukara whose name is Radén Janaka. If I’m accused of being a thief, I admit it--but I don’t steal sheep!

514

GATOTKACA: Well, hmm! So, you admit to smelling like a thief, and admit to being a thief, but what you are planning to steal is the warrior Janaka?

515

TURANGGADHESTHI: Yeh!

516

Matak aji pengambu. Ha! Njur, kepriwé? Sawisé aku matak aji pengambu, aku pethuk karo kowé. Kowé mambu maling tåndhå kowé mentas maling wedhus, kowé! Alå-lå-lå-lå-lå. Ha-ha-hah! O, dadi aku mambu maling amargå kowé matak aji pangambu? Mungkir jotos bathukmu! Mengko sabar, cah bagus. Yèn aku ketaman aji pengambu, aji panggåndå, aku mambu maling, tek [tak] dhadhani. Aku rumångså nembé arep maling. Nanging nembé arep nyolong, aku durung mentas nyolong. Ndak ngertèni, cah bagus, aku butå. Ning butå patih såkå Negårå Jongparang ingkang nami Tenung Turånggådhèsthi. Aku ora mungkir yektiné aku bakal ndhusthå, bakal nyolong, ning dudu nyolong dunyå brånå. Aku bakal nyolong satriå Madukårå kang kekasih Radèn Janåkå. Yèn tå aku dianggep mambu maling tek akoni. Ning aku ora maling wedhus, aku! Wah, hmm! Dadi kowé ngakoni mambu maling, kowé ngakoni maling, ning nembé arep maling sing nedyå kok jukut [juput] kuwi satriå Janåkå? Iyå!

Pathet nem GATOTKACA: Well, you’re a thief, but why a kidnapper?!

517

TURANGGADHESTHI: Let me explain, young man. My lord, Jatikusuma, intends to marry Banowati. The demand, the request, of Banowati is that the head of Janaka shall become a stepping stool for her when she climbs into bed with my lord Jatikusuma.

518

GATOTKACA: Oh, well, in that case, I’m wrong.

519

TURANGGADHESTHI: Wrong! You’re wrong!

520

GATOTKACA: Okay-okay. I apologize. Go ahead, enter the warrior’s quarters of Madukara.

521

TURANGGADHESTHI: Ha-ha-hah! You’re not a very polite person! Oh, even accusing me of stealing sheep! Well, I’ll leave you something, young man, alah-iyung! How about a bash on the back!

522

GATOTKACA: Let me tell you something. Don’t you be foolish, don’t you be crazy. If Gatotkaca, the guard of Madukara, finds out, he might wring your neck.

523

TURANGGADHESTHI: Who’s that, boy?

524

GATOTKACA: Gatotkaca, guard of Madukara. If he finds out that an ogre is making trouble for his elders, he’ll surely wring your neck, he’ll snap off your head.

525

229

Lho, wong nyolong, kok nyolong uwong?! Tak ngertèni, cah bagus. Gustiku, Jatikusumå, bakal nggarwå Banowati. Keng dadi bebånå, panyuwuné Banawati, sirahé Radèn Janåkå bakal kanggo ancik-ancik yèn bakal mapan saré lawan gustiku, Jatikusumå.

O, lha yèn kåyå ngono, aku kesliru. Kesliru! Kowé kesliru. Yå, wis aku njaluk pangapurå. Wis mrånå, nerusnå léhmu bakal mlebu marang Kasatriå Madukårå. Ha-ha-hah! Mèh baè lira-liru. O, wong ora patiå genah! Ha-hah! O, malah dianggep aku butå mentas nyolongi wedhus. Yå, tak tinggal kèri, cah bagus. Alah-iyung! Déning mbandhem gigir. Kowé tak ngertèni. Kowé åjå sembarangan, åjå sakepenakmu. Mbok kowé nganti kewenangan [kedenangan] Gatotkåcå, penjagan Madukårå, kowé sidå klakon dipuntir guluné.

Såpå, Nggèr? Gatotkåcå, penjagan Madukårå. Yèn menangi butå bakal gawé cintrakané wong tuané, mesthi dipuntir guluné, pothol sirahmu.

Act 1

230 TURANGGADHESTHI: É-é-é-é-é-éh! Tell me everything. Where is this Gatotkaca guarding? What does this Gatotkaca look like?

526

GATOTKACA: Since you want to know, I’ll tell you. This Gatotkaca has a build like mine, a face like mine, an appearance like mine, and a voice like mine. A very dangerous man, he is. Gatotkaca has the supernatural power of ‘soma katon’. Even though he’s far away, he appears to be in front of you. That’s Gatotkaca.

527

TURANGGADHESTHI: U-u-u-u-uh, doom and damnation! Well, am I ever slow. It’s you who’s called Gatotkaca.

528

GATOTKACA: I can’t deny it.

529

TURANGGADHESTHI: U-u-uh! I’m rather a stupid ogre, aren’t I?

530

GATOTKACA: Now that you admit it you are ­rather slow, and you’ve been caught by the guard. Will you go back or not?

531

TURANGGADHESTHI: I’ll go back after I snatch up Janaka!

532

GATOTKACA: I’ll break your head open!

533

TURANGGADHESTHI: Iyung!

534

É-é-é-é-é-éh! Sisan gawé aku njaluk keterangan, aku njaluk pangertèn kuwi Gatotkåcå lé jågå ki [iki] sok neng sisih ngendi? Wujudé, rupané Gatotkåcå, kåyå såpå? Yèn kowé kepéngin ngerti tak ngertèni. Gatotkåcå ki wujudé kåyå aku, rupané kåyå aku, dedegé kåyå aku, lé nyuwårå [nywårå] yå kåyå aku iki. Ingkang mbilahèni kuwi, Gatotkåcå ki nduwèni aji soma katon. Senajan adoh disawang, kåyå neng ngarepmu. Kuwi Gatotkåcå.

U-u-u-u-uh, élah dalah! Lha, iki aku ketelompèn [ketlompèn], malah kowé kang jeneng Gatotkåcå. Ora tédhéng aling-aling. U-u-uh! Lha, mulå-mulå aku butå bodho, aku! Sawisé kok akoni kowé ketelompèn, konangan déning panjagan, gelem mulih åpå ora?

Aku gelem mulih yèn wis nggondhol Janåkå. Pecah mbun-mbunanmu! Iyung!!

[Sampak in Solonese style laras sléndro pathet nem] [Sounds of battle]

Pathet nem

231

[Kendhangan kéjèk] [Suwuk] [Sulukan ada-ada Mataraman (jugag)] [laras sléndro pathet nem] DHALANG : 6 6 6 6 6 6 6 Yek-så ga-ti wi-srå-yå, 2 2 2 2 2 1 1 1 1 Ma-ring-kut-ring-kut ka-ba-li-gen, 6̣ 1 2 2 2 2 2 2 21 6̣ 3 A-ngi-sis si-yung me-tu pra-bå- wå, É... DHALANG : An ogre of great importance, Knocked down head over heels, Showed his awesome fangs, TURANGGADHESTHI: This Gatotkaca is really something. He’s known throughout the land in my country, Gatotkaca the great warrior.

535

GATOTKACA: No use in trying to play up to me. Are you going to go home or not? Otherwise you’re my enemy.

536

TURANGGADHESTHI: É-e-éh! Gatotkaca, you’d better take care. Since you’re not clever enough to realize my powers, you’ll have to become my victim. I’ll blow out a poisonous breath from my deepest innards. And if you aren’t blown away from my sight, I’ll bow to you in respect.

537

É-é-é-éh! Iki Gatotkaca ora baénbaén. Wis kondhang kalokå måcepat [måcåpat] mring negaraku, Gatotkåcå satriå jayéng palugon. Rusah [ora usah] nggunguh [ngunguni] aku. Kowé manut bali ora? Dadi Mungsuhku. É-é-éh! Gatotkåcå, njågå kang ati-ati, kurang kaprayitnan, luput katuranggoné dadi bayangan. Tak gebah, mijil abab wiså såkå sajroning guwå garbaku. Ora kéntir såkå ngarepku, sembah ubeng-ubengan.

[Sampak in Solonese style laras sléndro pathet nem] [Sounds of battle] [Kendhangan kéjèk]

Act 1

232 TURANGGADHESTHI: Hah! É-é-é-éh!

538

Hah! É-é-é-éh!

[Kombangan dhalang]108 Balungan

: 5

5

5

5

2

3

5

6

DHALANG :

6 Gå-

6 rå

6 gå-

6 rå

Balungan

·

5

·

6

[Ayak-ayakan in Solonese style] [laras sléndro pathet nem]

: ·

5

·

6

DHALANG :

6 ruh

6 hå-

6 rå

Balungan

2

·

1

·

3

·

2

6

·

5

3

2

3

5

: ·

6 gur-

6 ni-

6 tå

DHALANG : Balungan

: ·

DHALANG : Balungan

: 1�

5 5 5 5 5 5 5 5 5 5 5 5 ba- nyu ma- sas mu- sus li- sus ma- wé le- sah 6

5

6

DHALANG :

2� O...

Balungan

5

: 3

DHALANG :

5

3

5

6

1� 6

3

2

5

6

5

3

2 O...

Balungan

: 3

5

3

2

5

6

5

3

Balungan

: 5

6

5

3

2

1

2

6

Balungan

: 2

1

2

3

5

6

5

3

Balungan

: 2

1

3

2

6

5

3

5

Balungan

: 3

2

3

5

3

2

3

5

Balungan

: 2

3

5

3

5

2

3

5

DHALANG : 108

These words translate something like ‘Turmoil, turmoil...’

5

Pathet nem DHALANG: Look there! The violence! The wind is a cyclone in a maelstrom of darkness! O...

[Suwuk]

233 O...

INTERLUDE

Gara-gara [Sulukan pathet sanga wantah in Solonese style laras sléndro] DHALANG : 2 2 2 2 2 2 2 2 2 2 2 2 2 2 Sang-så-yå da-lu ra-ras am-byor lin-tang ku-me-dhap, 3-35 5 1 1 1 1 1 1 1 1 2 2 2 2 23 2-1 Ti- ti su-nyå te-ngah we-ngi lu-mrang gan-da-ning pus-pi- tå, 2 5 5 5 5 5 2-5 5 5 O... Ka-reng-ga-ning pu-ja- ni-rå, 1�61�61� 2 2 2 2 2 2 232 1-6̣ O... Sang Dwi-jå-wå-rå mbre-nge- ngeng, 2-1 1 1 1 1 2 6̣1 1 Lir swa-ra-ning ma-du-brån-tå, 2 2-12 2 16̣16̣ 2 2 2 2 16̣1 1232 1-6̣5̣ 5̣ Ma-nung- sun sa... ma-nung-sun sa-ri- ning kem- bang. DHALANG [text translation]: The evening grows more beautiful as the stars twinkle, In the cold and lonely midnight spreads a flowery fragrance, O... adorned by his praise, O... Sang Dwijawara hums, Like the sound of the bumblebee, Welcoming the flower pollen... O... DHALANG: And so, the ogre visitor from the Kingdom of Jongparang, PatihTenung Turanggadhesthi, con tinued his journey. He did not ­travel through the sky, but instead

539

Lahing kånå tå wau, denåwå utusan saking Jongparang, Patih Tenung Turånggådhèsthi, gentos lampah. Mboten lumampah wonten ing dirgantårå, ambles wontening bumi.

Interlude

236

Ing mangké badhé jumedhul, medal saking bumi, kalamon [kalamun] sampun dumunung wonten ing Kasatrian Madukårå. Kacaritå Radèn Gatotkåcå kénging dayaning abab wiså kantir [kéntir] kemangsang wonten ing méga malang kados kinjeng lumebet wontening ramat. Gatotkåcå mboten saged uwal saking bebåyå.

descended into the earth to emerge again within the grounds of the estate of Madukara. It is said that Gatotkaca was struck by the ogre’s magically powerful poisonous breath. He was blown away and trapped in the uppermost clouds of the heavens. Caught like a fly in a spiderweb, Gatotkaca could not break free. And the Counselor Tenung Turanggadhesthi had not yet reached the warriors’ quarters of Madukara. His story is interrupted by the arrival of a change, a change in the universe of pathet nem to that of pathet sanga.1 In the study of numerology, nine earthly omens signify the coming of turmoil--gara-gara. The universe is in turmoil because the land under the authority of the revered family of Ngamarta was suffering the wrath of the gods.

540

Rekyånå Patih Tenung Turånggådhèsthi dèrèng dumugi wontening Ksatrian [kasatrian] Madukårå ketungkå praptaning jaman gentos alam. Pathet enem ginentos nganggé pathet sångå, jumbuh jangkeping neptu sangang perkårå wonten pratåndhå badhé wonten gårå-gårå. Jagad badhé wonten gårå-gårå awit jagad kaprabawan déning sungkawanipun sinuwun Ngamartå, sakadang ingkang lagyå nampi bendu paring jawåtå.

It is told that the turmoil in the world of wayang is different from that of the world of man. The world was also the domain of the four clowns, led by the pure of heart Semar, an earthly mortal. It is told that the sun receded and the earth was covered in darkness, a darkness never yet described. Only the moon appeared over the horizon to rule the world.

541

Kacaritå ingkang badhé wonten gårågårå jagading ringgit sanès jagading menungså. Ugi jagad kaprabawan déning wulu-cumbu, jimat urip, pamong sejati, Ki Lurah Semar, yå menungså bebundeling jagad. Kacaritå sasuruting arkå gumanteling [gumantèning] ratri, sajroning ratri dèrèng wonten ingkang cinaritå. Among [namung] sang sitaresming amijil saking imbanging cåkråwålå arså mrabawani jagad.

[Uran-uran Dhandhanggula céngkok miring] [laras slendro pathet sanga] DHALANG : 2 5 6 6 Dhe-dhep i-dem... [tidhem] 1

The word sanga means, literally, nine. Hence, Sugino’s emphasis on the numerological sig­ nificance of the number nine.

Gara-gara PESINDHEN :

6 \ 1� 6 \ 1� 2� 2� 2� 2� ...Pra- ba- wa- ning ra- tri,

2� 2� 2� \ 3� \1�61\ �56 6 \1� 2� 2� 2� 2� Sa- sa- då- rå wus man- jer ka- wur- yan, 6 5 6 6 6 6 \ 1� 6 2�1\ �·65 Tan ku- ci- wa me- ma- nis- é, É... 6 \ 1� 2�·3 \�2� 2� \1� 2�3 \�2� \1�6 Meng- gep sri na- tèng nda- lu, 2� 2� 2�1 \�65 2 5̣ 6̣ \ 1 16 \̣ \ 1216 \ ̣ 5̣6̣ Si- né- wå- kå sang- gyå pra- da- sih, 12 2 2 2 2 2 2 \ A- glar- ing cå- krå- wå- lå, 6̣ 5̣ 6̣ 6̣ 6̣1\ 6̣-216 \ ̣ 5̣ Wi- nu- lat nge- la- ngut, 5̣ 6̣ 2 2 2 2 2 2 Pran- dé- né pak- så ka- be- gan 5 6 6 6-1\ � 5 5 5 5 6 \ 1�61�\ 5·65 \ 3-2 Sa- king kèh- ing ta- rang- gå- nå kang su- mi- wi, 2 2 2 23 2 Wa- rå- tå tan- på

1 1 3 2 1 selå,

Dhalang: Lonely and still... Pesindhèn: ...was the splendor of the night, The moon seeming to float by, Holding sweet secrets, That could tempt the great king at night, To be entertained by his many courtesans, A haziness at the horizon, Could be seen far off, Yet he could only be struck speechless, By the multitude of stars there was to behold, Spreading throughout the sky... Gendèr:

2� 1� 5 5̣

6 1� 6 2� · 6̣ 5̣ 6̣

6 1� 6 5 1 2 32 1

237

Interlude

238

[Umpak-umpakan balungan] Balungan : 5 2 5 3

5 2 5 1 5

2 5 3 5

2 5 1

Balungan : 5 2 5 3

5 2 5 1 ·

2 · 3 ·

2 · 1G

[Sulukan ada-ada gara-gara laras sléndro pathet sanga] DHALANG : 1� 1� 1�6 1� 5�1� 1� 1� 1� 2�3�2� 2�-1� É- kå bu- mi dwi sa-wah tri gu- nung, 6 6 6 6 6 61 5-3535 6 6 2�-1�61�61� Ca-tur sa-mu-drå pan-cå ta-ru, O... 1 1 1 1 1 1 1 16̣1 1 1 5̣ 22221 \ \ 1 Sad pa-ngo-nan sap-tå pan-dhi- tå has-thå ta- wang, 2 2 2 2 2 6̣12 2 2 2-2221 \ \ Nå-wå dé-wå då-så ra-tu, É... DHALANG: One world, two ricefields, three mountains, Four oceans, five trees, Six pastures, seven priests, eight skies, Nine gods, and ten kings... É...

[Umpak gendèr/genjlèngan balungan]2 Gendèr :

· · · 5 · · · 5̣

5 · 5 6 5̣ 6̣ 5̣ 2

3 5 6 5 · 6̣ 1 5̣

Gendèr : 6 1� 6 5 · 6̣ 5̣ 6̣

6 1� 6 5 1 5̣ 6̣ 1

6 1� 6 2 · 6̣ 5̣ 6̣

6 1� 6 5 1 2 3 1

Balungan : · · 5 · · 5 · 1 · · 5 · · 5 · 1 Kendhang : b b b b DHALANG: The turmoil laid waste to the cosmos. The earth seemed to turn tilted, the oceans spilling over, their churning killing all the creatures of the sea. A heat wave struck ceaselessly throughout the land, and the effects of the turmoil destroyed 2

Gårå-gårå dumadi ngrusak jagad. Bumi ketingal miring, samudrå kocak. Kumocaking samudrå gawè kesrakat maring buron toyå. Sanggon-nggon sami panas, mboten pikantuk panonoban. Hardaning gårå-gårå gawé rusaking tegal paka-

This metered passage with balungan and paraphrasing instruments of the gamelan closes the sulukan above. The gendèr opens the passage (umpak gendèr) and continues with the other instruments. The expression, genjlèngan balungan, means ‘pounding balungan’.

Gara-gara

3

239

the farmlands. Crops were devastated without the relief of water. The wetlands dried and cracked, becoming the hiding place of crawling poisonous vermin. Mortals, even priest and king, all fell to sickness and suffering. The gods who were not struck by the pain of death endured sorrow.

542

rangan. Tanem tuwus nggagrag, mboten pikantuk iliring toyå. Sawah-sawah sami anelå, dadi pandhelikaning gegremetan ingkang måwå wiså. Jalmå, pendhitå, ratu sami nandhang sungkåwå. Déwå ingkang datan kenå lårå ing pepati nandhang susah.

The priests gave up their prayers and entered the realm of kingdoms and begged for the help of their lords. But the lords themselves fell to suffering, their lands afflicted by poverty and hunger. The turmoil reached up into the domain of the gods, tilting the great hall of Balé Marcakundha Manik, splitting the horns of the sacred cow Andini, cracking the mouth of the holy cave Séla Metangkep, and upsetting the great bridge Si Ogal-Agil. The crater Si Mblegedhaba of the volcano Candradimuka boiled over with a bubbling explosion. Earthquakes struck seven times a day, the very earth split open, the mountains bursting and spewing out ash over the world. The sun and the moon lost their light, the stars fell, and a deep dark and still blackness descended, covering the world with a layer of dust.

543

Pendhitå tan bangit [bangkit] memujå agung kenå pangrencånå manjing pråjå nyuwun pitulunganing ratu. Ratu piyambak nandhang sungkåwå, negarané ketrajang pegeblug [pageblug], larang sandhang, tuwin larang pangan. Gårå-gårå sumundhul mring Surålåyå, gawé gunjing Balé Marcukundhå Manik, rengat sung[un]é Lembu Andini, njebol kori Séla Metangkep, méncéng wot Si Ogal agil. Kawah Cåndrådimukå mbludag ndhut Si Mblegedhåbå. Anå lindu sedinå kaping pitu, bumi mbledhag, gunung mbledug nyembur awu ngebahi [ngebaki] jagad. Suryå cåndrå ilang soroté, kartikå sami ambrol. Peteng dhedhet lelimengan mindhå bangun kesaputing lebu.

Nymphs and gods alike all fled to the side of the father of all gods, Hyang Hodipati. And from this chaos two boys were born, stunted twins they were. One carrying a magical dipper, to drain the oceans of their water. The other a whisk, to sweep the world. At a crossroads the two met and there they fought in contest over a maiden.3

544

Widådårå-widådari sami ngungsi neng ngarsanira Hiwang Hodipati. Sidheming gårå-gårå jumedhuling laré bajang sakembaran. Siji nggåwå bathok mbolu, sanggupé nawoni seg årå kang lagi surud. Ingkang sajugå nggåwå sådå lanang saler, sanggupé nyaponi jagad. Kekalih pinanggih wontening margi catur dendhå, ing ngriku sami rebut biådå.

An almost identical passage is also found in Solonese style gara-gara (Siswoharsoyo 1966:48 and 1982:45) followed by sampak in pathet manyura. Brandon (1970), based an English wayang

Interlude

240

[Kombang dhalang]

DHALANG :

5̣ 6̣ 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 Te-kå nda-mel tra-jang-ing gå-rå gå-rå ruh hå-rå gur-ni-tå DHALANG: The turmoil of the universe had arrived, See there! The violence!

[Ayak-ayakan Banyumasan] [laras sléndro pathet sanga] Balungan

:

2

1

2

1

2

1

DHALANG : 1 2 2 3 Ba- yu Ma-

2

1

1 2 1 1 sas...

DHALANG: The wind in a maelstrom...

[Srepegan Banyumasan] [laras sléndro pathet sanga] [Sampak gara-gara Banyumasan]4 [laras sléndro pathet sanga] kulit story, ‘The Reincarnation of Rama’, on Siswoharsoyo’s published text (1966), Wahyu Purba Sedjati (see Brandon’s remarks in his preface [page vii]). His version of this passage is as follows: In the midst of nature’s upheaval, there appear two funny creatures, seemingly unconcerned, the followers of the Prince Ardjuna [Arjuna]. One is Gareng [Garèng]; one is Petruk [Pétruk]. The two begin to quarrel, thereby intensifying the natural chaos. There is no reference to either of the two clowns, Pétruk or Garèng, in Siswoharsoyo, but Brandon’s informants may have suggested these since the clowns do make their appearance shortly afterwards. Nojowirongko (1960:21, Vol. IV), on the other hand, does not include this passage of the two boys but suggests showing a brief scene with Pétruk and Garèng fighting here. 4 At this point the dhalang picks up first one then the other kayon, waving and spinning each in time to the music before planting it back reversed (with the red side facing out toward the dhalang) into the banana trunk near the edge of the performing area of the screen. The kayon (‘tree of life’) is also called gunungan or ‘mountain’); it is the most abstract of all the wayang figures, cut in the shape of a tree--but it can represent many things, including wind, fire, the earth, a cloud, a mountain, and so forth. It also is used in a more abstract way as well. For example, it may be passed over a character to represent a magical transformation or the casting of a spell. Most important, however, it is used to mark off the different sections of the performance. Here, reversing the kayon with the red side (often with a demonic face painted on it) facing out (toward the dhalang) signifies that the world is in turmoil. The figures remain this way until the end of the next scene.

Gara-gara

241

[Mandheg (pause)] DHALANG : 5 1� 2� 1� 5 3 2 Sma-rang ka-li-né ban-jir... DHALANG: Rivers of Semarang flood their banks...

[Gendhing dolanang Jangkrik Genggong laras sléndro pathet sanga]5 [Sampak gara-gara in Banyumas style] [laras sléndro pathet sanga] [Mandheg] DHALANG : 5 \ 6 1� 5 · \ 6 3 5 \ 6 1� 5 Glo-pa gla-pé... Glo - pa gla- pé DHALANG: 6 Glopa-glapé... glopa-glapé...

[Gendhing dolanan Glopa Glapé]7 [laras sléndro pathet sanga] [Sampak gara-gara in Banyumas style] [laras sléndro pathet sanga] [Suwuk]8 DHALANG: Relieving the turmoil was a shimmering aura, beaming up to the sky and lighting the world. It was 5

545

Ilanging gårå-gårå wonten téjå nglais sundhuling awiyat gumebyar madhanging jagad, sanès téjaning

The piece Jangkrik Génggong may have originated as a folk song. It first became popular as in kroncong (an accultured music ensemble made up of guitars, ukekeles, string bass or cello, violin and flute accompanying solo voice; see further Kornhauser 1978). According to Rasito this piece was later adapted for gamelan by the late preëminant musician/composer Nartosabdho. This piece introduces the clown Garèng. 6 This expression might mean ‘shy, hesitant.’ 7 Gendhing dolanan is a genre of gamelan music inspired by children’s songs. This piece introduces the clown Pétruk. J. Becker (1980:155) includes Glopa-glapé in her list of compositions by Nartosabdho. 8 Suwuk is cued with the arrival of Semar, the first of the clowns to make an appearance. He is the father of the others (Garèng, Pétruk, and Bawor) and a powerful spirit to the Javanese.

Interlude

242

gegod-hongan, sanès téjaning sato galak, tejaning jalmå manungså panakawaning Pendhåwå, yaiku ingkang jeneng Semar, yå jeneng Nayantåkå Bugagati Bugasampir, yå Ki Dudå Nanang-Nunung, yå jeneng Ki Jejanggan Asmåråsåntå.

not the light of plant or animal, but that of the mortal clown, faithful servant of the Pendhawa. His name was Semar, Nayantaka Bugagati Bugasampir, Ki Duda Nanangnunung, or Venerable Flower of Love. His name was Venerable Flower of Love yet he was Semar the ugly, the shapeless, the pauper, and the unseemly in conduct. Nevertheless, he was a mortal of supreme virtue. Indeed, despite his external appearance, he was the reincarnation of the god Ismaya.

546

Jeneng Jejanggan Asmåråsåntå senajan tå Ki Semar kang ålå, tanpå rupå, sudrå påpå, ora pakrå. Pårå ndéné dados pitakonaning jalmå kang dhå, kang sengsem mring kautaman. Sayekti Ismåyå panjalmaning déwå, milå biså ginånthå sarånå gantaning lair.

He was known as Duda Nanangnunung9 because he appeared to be a man having the breasts of a woman, or a woman having the hair of a man. Not knowing whether he was man or woman, I call him Semar.

547

Jeneng Dudå Nanang-nunung kawastanan priyå ndarbé prambayun, kawastanan wanitå nduwé kuncung. Éwuh åyå anggènipun, kulå badhé mastani Semar iku jaler nåpå èstri.

His name was Bugagati and buga means food, gati a wandering star. He could swallow the stars, and eat the moon, yet Ki Semar would hurt nothing and nobody.

548

Jeneng Bugagati--bugå iku pangan, gati iku lintang bebasan, arepå ngulu lintang, ngulu rembulan, Ki Semar ora ånå kang ngarubiru.

The name Semar is from samar meaning vague, unclear in essence. The name Nayantaka is from naya, serpent, and antaka, death. If one looks at Semar, one sees a mortal as if in death. Because of this, it is fitting that he is a symbol of the spirits of mortals desiring to return to their bodies.

549

Jeneng Semar tegesé menungså [manungså] kang datan samar mring salir ing rèh. Jeneng Nåyantåkå-nåyå: ulat, kantåkå: pati. Yèn disawang, Ki Semar kados jalmå kang wis sirnå. Senajan mengkono, pantes kinaryå pralampitaning menungså kang mati såkå kersaning slirå pribadi.

Thus, the welfare of the world rested within him. And Ki Badranaya sat silently like a statue, like a bird on a pedestal. Ki Badranaya was transfixed, watching a small bird

9

Literally, ‘old man floppy teats’.

Amungguh iku karaharjaning jagad. Nalika samono, Ki Bådrånåyå ngubleg-ubleg kadyå gupålå, lungguh méngkruk-méngkruk [mangkruk-mangkruk] kåyå angkruk,

Gara-gara perched upon the leaf of a banana tree.10

550

243

méngklik-méngklik [mangklik­mangklik] kåyå dingklik. Ing semu, Ki Bådrånåyå sengsem hanggènirå mirsani wonten kukilå menclok aning pupusing pisang.

[Buka celuk]10 DHALANG : 2 2 3 2 3 2 2� Le-dhung... le-dhung... le-dhung... O...

[Ledhung-ledhung laras sléndro pathet sanga] [Suwuk] SEMAR: My oh my, oh my, a tiny pinch and a lot of mumbo-jumbo.12 Nala Garèng, Pétruk, Bawor, come here to your elder. I want to chat a bit with you. Something extraordinary happened to me. I’ll tell you everything. Well, come on, boys. Nala Garèng, Pétruk, Bawor! Are you going to call at the palace or are you going to nurse ailing Master Janaka, boys?

551

Eh, well...those boys, if they hear their father calling, they’re off like a shot, quietly hiding without a trace. Boys? Nala Garèng, Pétruk, Bawor?

552

É-lha...kaé bocah yèn ånå wong tuwå nyuwårå njur pådhå pating besasat, pådhå semisih [sumisih] ora ånå swarané ora katon wujudé. Tholé? Nålå Garèng, Pétruk, Bawor?

Heh, oh well. When they’re like this, I just might as well wait awhile for them to gather. But, if I just rest quietly, they’ll never

553

Heh...iyå-yå-yå yèn ngéné becik aku ngaso sawetårå ngentèni anakku lanang pådhå kumpul. Nanging yèn aku ngaso meneng-menengan, ana-

10

Blahé-blahé, sadulité humel-humel. Nålå Gareng, Pétruk, Bawor mréné pådhå mrepeki karo wong tuwå. Aku angkah gendhu-gendhu råså karo kowé. Anå ngedadékan ingkang nganèh-nganèhi, kowé pådhå ngerti kabah. Hayo tå tholé, Nålå Garèng, Pétruk, Bawor. Apå bakal sowaning kraton? Åpå bakal nenggå gerahé Ndårå Janåkå, tholé?

In Yogyanese-style wayang kulit Semar’s entrance marks the end of the gara-gara section. The section that follows, the comic interlude, is called (according to Mudjanattistomo et al. 1977:164) alam-alaman (‘make-believe world’) since the clowns imitate or mime the events of other places (alam; literally, ‘worlds’) or times. 11 The buka celuk (vocal introduction) by the pesindhèn is in response to the dhalang’s verbal cue, ‘wonten kukila menclok aning pupusing pisang’ [a small bird perched upon the leaf of a banana tree], spoken in formal Javanese. This same phrase, in informal Javanese, begins in the buka celuk and continues in the song: ‘Kaé ana manuk pudhang... mencok anèng papah gedhang...’ 12 This is a very loose translation of Semar’s identifying phrase.

Interlude

244

kku pådhå ora énggal tekå. Becik tak akali-nané [akaliné]. Yèn aku nyuwårå swårå lelagon, senajan tå adoh kaling-kalingan gunung pitu, segårå wolu, mesthi pådhå énggal tekå. Aku ora nduwé swårå, swaraku ora kepénak. Éh, éwå samono, aku ora émeng, ora sedih. Anå kåncå waranggånå kang kanggo nyambung swaraku. Nuwun sèwu kåncå waranggånå, Ni Mas Sunyahni. Kulå aturi lenggah majeng ngasto cagak mik. Cobi kulå nyuwun dipun damelaken suluk pathetan sångå wantah ingkang cakepanipun ‘Kayuné purwå sejati’.

show up. I had better trick them. Whenever I sing a song, though they may be far away and hidden behind seven mountains across eight seas, they’ll be sure to show up. I can’t carry a tune, and my voice is not very pleasant. Eh, but that’s alright, I’m not worried. I know someone who can sing in my place. Excuse me, singer, Miss Sunyahni, please sit facing the front and hold the mike stand. I would like to you to please sing suluk pathetan wantah with the text ‘Kayuné purwa sejati’.

[Sulukan pathet sanga wantah Banyumasan laras sléndro] [Sung by pesindhèn] SEMAR: Continue with Gendhing Magelangan ‘Puji Astuti’, please. Now, what would be pleasant to do..?13

554

Katerasaken Gendhing Magelangan Puji Astuti, månggå. Énaké sinambé nåpå?

[Gendhing Magelangan Puji Astuti]14 [laras sléndro pathet sanga] [Suwuk]15 SEMAR: Nala Garèng, my boy.

555

GARENG: At your command, my Father.

556

SEMAR: Finally, you arrive, strolling slowly, expecting me to wait for you like a hopeful in-law. 13

557

Tholé Nålå Garèng. Kulå nuwun dhawuh timbalan Ramané. Ora wurung alon-alon ketimikketimik tekå. Lé ngarep-ngarep ki léhku ngarep-arep kåyå ngarepngarep bésan kowé.

The buka celuk responds to the dhalang’s question with ‘It’d be pleasant, it’d be pleasant to play games’. 14 This piece is classified as a jineman, a piece that is performed only by the soft-style instruments and features the sindhènan (female singing). 15 Suwuk is cued with the entrance of Garèng, the eldest of Semar’s sons.

Gara-gara GARENG: Oh...oh, well, sure.

558

SEMAR: Indeed, Son, when his child is gone a parent feels empty.

559

GARENG: O, yes. What is it you want, Father?

560

SEMAR: Come on, sing to relax a while.

561

GARENG: O, sure, uh-uh. Who was it that just sang?

562

SEMAR: Miss Sunyahni, a singer from Sragen.

563

GARENG: O, of course. And who sang the Pathetan sanga wantah?

564

SEMAR: Go on...

565

GARENG: Followed by Gendhing Magelangan ‘Puju Astuti’, who was it that sang?

566

SEMAR: Miss Suryati.16

567

GARENG: Oh...huh-huh-huh! Of course, is she still a Miss?

568

SEMAR: She still is!

569

GARENG: O, indeed. Well, that’s good. Huhhuh-huh! Or a mouse.17

570

16

245

Oh...oh lha inggih. Ha-iyå wong putrå, anak ora katon yå kélangan. O, inggih badhé kados pundi, Ramané? Ayo, nyambungå swårå kanggo ngaso sawetårå. O, inggih, huh-huh. Kålå wau niki ingkang nembang sinten? Ni Mas Sunyahni, waranggånå såkå Sragèn. O, inggih! Lajeng, ingkang pathetan sångå wantah niku? Iyå! Sesampunipun suwuk kalajengaken Gendhing Magelangan Puji Astuti, ingkang nembang sinten? Ni Mas Suryati. Lha...huh-huh-huh! Nggih, taksih Ni Mas? Isih! O, inggih. Syukur, huh-huh-huh! Ni Maos.

‘Miss’ is my translation for Ni Mas, a respectful title for unmarried women. My use of ‘mouse’ here is simply to translate Garèng’s play on Ni Mas; he says Ni Maos. The word Maos here is probably a reference to the nearby town called Maos. 17

246

Interlude

SEMAR: Nala Garèng, my son, alright now. That was Mrs. Suryati from Kalimanah Purbalingga.18

571

GARENG: O, indeed, huh-huh-huh! How many singers are there?

572

SEMAR: Altogether there’s six, including Mrs. Wahyuni, Mrs. Jumirah, Mrs. Sulani, and Miss Suwarti.19

573

GARENG: O, yes, huh-huh! I want to continue by requesting a song to relax by.

574

SEMAR: Now, that’s the way. Who do you want to sing? What song do you want?

575

GARENG: Excuse me. I’d like to request the piece, ‘Gunungsari Kalibagoran’, in laras sléndro pathet sanga.

576

SEMAR: Sanga. Of course, sanga.

577

GARENG: Indeed.

578

SEMAR: “Gunungsari Kalibagoran.”

579

GARENG: Indeed.

580

18

Tholé Nålå Garèng. Iku mau Ibu Suryati, såkå Kalimanah Purbalingga.

O, inggih, huh-huh-huh! Warangganipun pinten? Isih wutuh nenem! Bu Wahyuni, Ibu Jumirah, Ibu Sulani, lan Ni Suwarti.

O, inggih, huh-huh! Kulå badhé nerasaken nyuwun lagon kanggé ngaso sawetawis. Ya mrånå. Sing arep kok suwuni, såpå? Laguné, åpå?

Nyuwun sèwu. Cobi kulå nyuwun Lagon Gunungsari Kalibagoran, larasanipun [larasipun] sléndro sångå. Sångå. Ha-iyå, sångå. Inggih. Gunungsari Kalibagoran. Inggih!

Either Semar was pulling Garèng’s leg about Suryati’s marital status or he is showing respect for her age since now he refers to her as Mrs. (my translation of Ibu, a title for married and older women). 19 The large number of female singers in a troupe is characteristic of Banyumas-style wayang kulit. Most Solonese and Yogyanese troupes have only two or three. Banyumas pesindhèn, however, have many more tasks than their Solonese or Yogyanese counterparts. They not only alternate in singing the solo female vocal parts (sindhènan) but also provide texted chorus parts (senggakan), various vocal calls (alok), and clapping whenever appropriate.

Gara-gara SEMAR: Well then, who do you want to ask to sing it?

581

GARENG: Your own relative living in your house in Notog Purwokerto, Miss Suwarti. But, I want to open the piece. No need for a bonang introduction; the bonang isn’t pleasant. No need for a rebab introduction; the rebab is out of tune. I want to open the piece, with a vocal introduction.20

582

SEMAR: So, you want to open the piece with a vocal introduction?

583

GARENG: Yes... [Singing:] ‘The rice is spilled...’

584

SEMAR: What’s that?

585

GARENG: The rice is spilled.

586

SEMAR: Whose rice is spilled?

587

GARENG: Why, it’s part of the songtext, Father.

588

SEMAR: O ya, go on. 20

589

247

Lha njur, sing arep dikandhani mèn nembang, sapa? Adhiné Ramané ingkang nunggal sagriyå, saking Notog, Purwokerto-Nimas Suwarti. Nanging, badhé kulå bikak. Mboten usah saking bonang, bonangé mboten kepénak. Mboten usah saking rebab, rebabé bléro. Huh-huh-huh! Ajeng kulå bikak, måwå bukak celuk mawon.

Dadi kowé sing arep mbukak celuk?

Inggih! 5 5 2 3 Be-ras wu-tah... Kepriyé? ‘Beras wutah’. Berasé såpå, sing wutah? Lha wong niki wangsalan kok, Ramané. Iyå, terus.

Here, Sugino provides us with a particularly intriguing example of how the dhalang is an almost omnipotent presence ‘hidden’ behind his characters (for more on the dhalang’s presence in performance, see Keeler 1987:198-9). Although Garèng addresses Semar, he is of course speaking to Sugino who indeed lives in the hamlet of Notog outside of Purwokerto. Dhalang often speak directly to the audience through one of their clowns and Sugino consistently chooses to speak through Semar. With Garèng’s remarks, Sugino deftly obscures the difference between the character Semar and the man performing the role of Semar. The pesindhèn Garèng refers to, Suwarti, is in fact Sugino’s in-law since she is the younger sister of his late wife (and she does indeed live in his house). When we consider that this conversation was in reality executed by only one person, we can appreciate how effortlessly – and subtly – Sugino is able to make his personal presence known in a complex dialogue: he (as Garèng) speaks to himself (as Semar) referring indirectly to himself (as the dhalang).

Interlude

248

590

GARENG: [Singing:] “The rice is spilled and the chickens run, but I just look at girls for fun...ya!”

� 5 5 2 3 2 2 5 6 1 Be-ras wu-tah pi-tik-é mla-yu, 5 5 2 3 2 2 23 1 2 A- ku be-tah nya-wang wong a-yu ...iya!

[Gunungsari Kalibagoran gendhing lancaran in Banyumas style laras sléndro pathet sanga] [Suwuk] SEMAR: My oh my oh my oh my... Nala Gareng, my boy.

591

GARENG: Aye.

592

SEMAR: So that was ‘Gunugsari Kalibagoran’ with breaks.

593

GARENG: Aye, don’t you think it’s good to dance to, Father?

594

SEMAR: Éh, sure is, you were strutting in time to the drum beat.

595

GARENG: Aye, with all that strutting, a person’s feet get blistered.

596

SEMAR: This boy, what’s this business about blisters all the time?

597

GARENG: Sure. Look here, look.

598

SEMAR: What?

599

GARENG: These shoes of mine are brand new.

600

SEMAR: Éh-éh-éh-éh-éh. É, Nala Garèng, sure.

601

12

Lahé-lahé...Tholé Nålå Garèng.

Inggih! Iki Lagon Banyumasan Gunungsari Kalibagoran dipedhot-pedhot. Inggih, cocok nåpå mboten anggèn kula njogèd, Ramané? Eh...kok cocok lé janjat-jinjit ki pas karo kendhangé. Inggih. Lé janjat-jinjit niku, sikilé lècèt. Kiyé bocah kok lacat-lècèt, lacat-lècèt.

Inggih. Niki, priksani, niki. Apå? Treteb kulå anyar niki. Éh-éh-éh-éh-éh. É, Nålå Garèng, iyå.

This is another humorous reference to the musician who recently bought a pair of shoes (see my notes to items 121 and 327).

Gara-gara GARENG: Huh-huh-huh!

602

SEMAR: Tell Pétruk to come quick.

603

GARENG: Hey, Kanthong, Father’s calling you. Thong!

604

PETRUK: I’ve come to take a turn. Later, after visiting Madukara or the palace of the others, we’ll sympathize with them in their suffering. But first, I’ve come to cheer you up.

605

SEMAR: You’re absolutely right, Pétruk, to give us strength.

606

PETRUK: Aye, now I want to request my song. I want a song in the pélog tuning.

607

SEMAR: Who are you going to ask to sing, Pétruk?

608

PETRUK: Yes, excuse me. I would like to ask for a pélog voice and for the tembang, ‘Mijil Kethoprak’.

609

SEMAR: Who do you want to sing? Well, come on, Pétruk.

610

PETRUK: Okay, let’s see. I would like to ask Bu Jumirah. I would like ‘Mijil Kethoprak’. If not Mrs. Jumirah, Mrs. Sulani can sing it. If not Mrs. Sulani, Mr. Sahudi the gong player can.22

611

22

249

Huh-huh-huh! Si Pétruk dikandhani mèn, enggal tekå mréné. Ayo! Kanthong, timbali Ramané, Thong! Gentèn aku arep sowan mengko. Yèn wis sowan nèng Madukårå utåwå sowan nèng kraton liyané, mélu nandhang susuh. Ha-mulané sadurungé sowan gawé bebungah. Bener kowé, Pétruk, kanggo mbombongnå marang pikir. Inggih, mangké kulè badhé nyuwun lagon kulå. Kulå nyuwun lagon larasipun pélog. Sing arep kok suwuni såpå, Pétruk?

Inggih, nuwun sèwu. Kulå nyuwun swanten pélog, kulå suwunaken Tembang Mijil Kethoprak. Sing arep diaturi nembang, såpå? Héh? Hayo, Pétruk. Inggih, cobi. Kulå suwunaken kaliyan Ibu Jumirah. Kula nyuwun Mijil Kethoprak. Mboten Bu Jumirah, ugi Ibu Sulani kénging. Mboten Ibu Sulani, inggih Pak Sahudi, kénging, pengegongipun.

Mr. Sahudi (Pak Sahudi, as he is called), of course, does not sing.

Interlude

250 SEMAR: Who, Pétruk?

612

PETRUK: Well, the one who...wah, that stepped forward.

613

SEMAR: Who’s that, Pétruk?

614

PETRUK: Mrs. Sulani.

615

SEMAR: Éh, alright. My oh my.

616

PETRUK: You’re a bit unsteady, eh? I would like “Mijil Kethoprak,” Ma’am.23 Take your time, okay?

617

Såpå, Pétruk? Walah, niki ingkang...wah, tampil kemukå niki. Såpå tå, Truk? Ibu Sulani. Ééé...iyå-yå-yå. Lahé-lahé... Gléyor-gléyor. Månggå, kulå aturi Mijil Kethoprak, Bu. Alon-alonan... nggih?

[Jineman Mijil Kethoprak laras pélog pathet nem] [Mandheg] PETRUK: This time, let’s have a male singer. Mr. Mbono [Bono], please continue with ‘Mijil Kethoprak’.24

618

Månggå, gentos swanten kåncå wiråswårå Pak Mbono. Månggå, kulå aturi nerasaken Mijil Kethoprak.

[Jineman Mijil Kethoprak laras pélog pathet nem] [Suwuk] SEMAR: My oh my oh my... Pétruk, who was it that sang ‘Mijil Kethoprak?’

619

PETRUK: Well, that was our male singer from Purbalingga, Mr. Mbono.

620

23

Lahé-lahé... Pétruk, iku kang nembang Mijil Kethoprak? Ha-inggih, punikå kåncå wiråsårå saking Purbalingga. Pak Sumbono, niku.

The word ‘ma’am’ is a loose translation for Bu, a contraction of Ibu. ‘Mbono’ (or Subono) is the group’s featured male singer. He is widely known through performances and recordings for his outstanding voice. 24

Gara-gara SEMAR: Oh, of course, of course. Who was it that sang first?

621

PETRUK: That was Mrs. Sulani, our female singer from Sragèn.25

622

SEMAR: Éh, of course, of course. Well, if you’re finished, all that’s left is for Bawor to come by quick and take a turn. I want to rest for a while yet.

623

PETRUK: Oh, of course. Surely, even, Kyai. Bawor!

624

BAWOR: Whatcha’ want? I don’t wanna do that yet.26

625

PETRUK: So, what do you want?

626

BAWOR: You go first. I’ll do something later. I’ll do something Banyumas style.

627

PETRUK: Oh, Bawor will do something Banyumas style. Wah! What a coincidence, Father. Someone whispered to me and requested a West Javanese song with the text, ‘Gunung Galunggung’. We’re asked to follow it with the West Javanese children’s piece, ‘Mojang Priangan’.

628

25

251

O, iyå-yå-yå. Ingkang nembang dhisik, såpå mau? Ibu Sulani, kåncå waranggånå saking Sragèn. Éh...iyå-yå-yå. Yèn kowé uwis, gentèn gari si Bawor énggal tekå mréné léhku ngaso isih suwé.

O, inggih. Syukur, mandar, Kyai. Kang Bawor! Kon ngapa-lah? Inyong urung arep ngono, inyong. Lha, karepmu? Ngono, ko [kowé] baé. Inyong mengko, inyong. Banyumasan, inyong-lah! O, Kang Bawor Banyumasan. Wah! Keleresan, Kyai. Punikå wonten paweling bisik-bisik lirih kaliyan kulå. Kapurih lagon Jawa Kilènan cekepanipun Gunung Galunggung. Kapurih dipun terasaken dolanan gagrag kilèn ugi, Mojang Priangan.

Sulani is not a regular performer with the troupe. She was hired for the studio recording session (which, I was told, took place in Bandung, West Java). 26 Although not evident in my English translation, the clown Bawor, Semar’s youngest son, uses a pronounced Banyumas dialect of Javanese, characterized by a vocabulary unique to the area – with words like rika instead of the standard Javanese kowé for ‘you’ and inyong instead of aku for ‘me’. In addition, the open a sounds are similar to Sundanese equivalents and many phrases also closed with with -lah word endings. Bawor, in fact, embodies the local identity of the Banyumas people in his speech and general mannerisms. He is clearly an expression of regional pride. Indeed, in one performance I saw, Bawor introduced himself as ‘Bawor, B.A.’, explaining to his audience that this meant not Bachelor of Arts, but Banyumas Asli (‘genuine Banyumas’).

Interlude

252 SEMAR: Well, and who do you want to sing the song?

629

PETRUK: Mrs. Wahyuni. ‘Gunung Galunggung’, please.

630

SEMAR: And ‘Mojang Priangan?’

631

PETRUK: Perhaps a change to male voice...

632

Lha, njur sing arep diaturi nembang, såpå? Ni Wahyuni. Månggå, Gunung Galunggung. Wah, Mojang Prianganè? Mengkin gentos priyayi.

[Bawaswara Gunung Galunggung Laras pélog pathet nem]27 GARENG: Heh...Got it!

633

BAWOR: He’s talking in his sleep. Bring it over here, it’s just the same!28

634

Heh...ceg! Jan nglindur. Sikat nang kana neng kéné padha baé.

[Suwuk] PETRUK: Mrs. Jumirah. Please continue, Ma’am! Okay? Yes... Very good... that’s the way to sit...very good!

635

Bu Jumirah, månggå, dipun terasaken, Bu. Yå? Nggih... Nah... ngaten lunggah...nah!

[Gendhing dolalan Mojang Priangan in West Javanese style]29 [laras pélog pathet nem] [Suwuk]

27

A bawaswara is a free metered unaccompanied vocal composition that is usually used as an introduction to a gamelan piece. However, in this case, it is performed as an independent composition. The piece that follows, is in fact opened with a brief buka celuk (vocal introduction). 28 The humor here is a reference to an argument one of the pesindhèn had with her husband earlier. She had said these same words in anger to her husband, within earshot of other members – including the dhalang. 29 Rasito reports that this was a popular children’s song in West Java during the 1950’s and recently arranged for the troupe by the rebab (spike fiddle) player, Yoto (called by his friends ‘Pak Yoto’).

Gara-gara PETRUK: Wah! Now that’s what I’d call a sweet melody, in Banyumas style, Father.30

636

SEMAR: Éh, sure. And [who sang] that just now?

637

PETRUK: Mrs. Jumirah.

638

SEMAR: Heh, whatever she sings it’s bound to be pleasant. Eh, son?

639

GARENG: I wonder how much Jumirah could cost, a person that... O...31

640

GARENG: Huh-huh!

641

[singing]

Éh, iyå kuwi mau?

Ibu Jumirah. Héh. Nembang åpå-åpå kiyé kok, kepénak kuwé, bocah. Jumirah pinten, wong sing... O...

Huh-huh!

thing thing en-blak en-blak en! Huh-huh-huh!

Huh-huh-huh!

Valleys so deep, do so incline!

2� 1� 2� 2�-1�2�1� 6 1� 6 6 Ju-rang je-ro... ja-ré pè-rèng

Wild jungle boars, really are swine!

5 3 5 5-35 6 1� 6 6 Ba-bi a-las... ja-ré cè-lèng

It’s those Gerdurèn style swine again.32 30

Wah! Sing jenengané ngrangin, cårå Banyumasan, Kyainé.

5 5 6 1� Tong-don tang-tlin 1� 1� 6 thing thing thing 1� 6 6 5 6 5 5 thing thing en-blak en-blak en

Tong-don tang-tlin thing thing thing

253

Cèlèng Gredurènan maning.

The reference to Banyumas style here is actually Sugino expressing a bit of regional pride. The singer, Jumirah, is from the Banyumas area and is widely known for her outstanding voice. 31 The humor here is directed toward the high salary Sugino pays for her services. After the other singer (Suryati) and the drummer-leader of the troupe (Rasito), Jumirah is the highest paid performer. Sugino, of course, is their employer and he pays the troupe members from the money paid to him by the people holding the performance. 32 The humor of this passage remains unclear to me, apparently based upon an inside joke among Sugino and various troupe members. It focuses on the rebab player, Pak Yoto, who is from the area surrounding the village of Gerdurèn (hence, the reference to Gerdurèn in item

254

Interlude

PETRUK: [Laughing] This guy, always talking about those Gerdurèn swine.

642

GARENG: Huh-huh-huh!

643

SEMAR: Nala Garèng, Nala Garèng, very good, very good. Your brother, Bawor, should come quick.

644

BAWOR: My turn, Pa! I want a Banyumas style tune. “Gunungsari,” we’ve already heard. “Mijil Kethoprak” and West Javanese style “Mojang Priangan,” we’ve already enjoyed, éh. “Puji Astuti,” we’ve enjoyed as well. So, what does that leave me, huh?

645

PETRUK: Whatever you like!

646

BAWOR: For me, Semarang style.

647

PETRUK: Well, this guy asks for Semarang style. Who do you want to sing?

648

BAWOR: Someone that really moves me. Let’s see, how about a young girl!

649

PETRUK: [Laughing] Who would that be, brother?

650

BAWOR: Well, I need to be moved, you know... Well, I’m getting old, you know!

651

PETRUK: Heh-heh-heh! This guy!

652

[Laughing] Kiyé uwong mesthi ngomong cèlèng Gredurèn kiyé. Huh-huh-huh! Nålå Garèng, Nålå Garèng, iyå-yå-yå. Si Bawor, kakangmu, énggalå tekå mréné. Gentèn inyong, Mak! Inyong laguné Banyumasan. Gunungsari, wis krungu. Jawa kilènan, Mojang Priangan, Mijil Kethoprak, wis kepénak, éh... Puji Astuti, kepénak. Gari apa si inyong, ya?

Sekarepmu! Gagrag Semarang, inyong. Wah, kiyé uwong nyuwun gagrag Semarang. Sing arep diaturi nembang, såpå? Angger mandan [mandånå] melas atik [ati] inyong, ya, Ni Mas-lah! [Laughing] såpå, Kang?

Ya, inyong kon dimelasi, lah...ya wis tuwaa, lah!

Héh-héh-héh, kiyé wong!

642). There may also be a reference to recently composed gamelan piece, called Cèlèng Mogok (‘Stalled Pig’), by Bono (the leading male singer of the troupe).

Gara-gara BAWOR: Éh, a gift to Banyumas.

653

PETRUK: What’s the tune?

654

BAWOR: How about ‘Nini Thowok!’

655

PETRUK: ‘Nini Thowok?’

656

BAWOR: ‘Nini Thowok’ Semarang style.33

657

PETRUK: Oh, well. If that’s what you want, then just ask [the gamelan players], brother.

658

BAWOR: If you don’t mind, please. But don’t overdo it, you know. Just really move me, okay?

659

SEMAR: Éh, my son. my son. Bu Sur [Ibu Suryati], please open with “Tukang Cukur”.34

660

255

Éh-nggok [enggo/anggo]...nggok oléh-oléh aring Banyumas. Laguné åpå? Nini Thowok, lah! Nini Thowok? Nini Thowok gagrag Semarangan. O...lha, yèn kerså yå diaturi kok, Kang!

Angger kersa nggih mangga, kari mboten kebangetan lah! Melasi temen inyong le-le [lha-lha]. Éh...tholé, tholé. Bu Sur dipun bikak måwå Tukang Cukur, månggå.

[Bawaswara Semarangan Tukang Cukur]35 [laras sléndro pathet sanga] DHALANG: If you please, Mas.36 ‘Nini Thowowk’.

661

Nini Thowok, Mas [Ni Mas], månggå.

[Gendhing Dolanan Semarangan Nini Thowok]37 [laras sléndro pathet sanga] 33

I’m not sure why Sugino refers to it as ‘Semarang style’ since the piece has no identifiable characteristics that relate it to the Semarang area. It may be simply because the piece was composed by the late Nartosabdho who lived in Semarang. 34 Literally, ‘The Barber’. 35 See my note to Bawaswara Gunung Galunggung (after item 632). 36 Sugino is speaking to the rebab player, Yoto, using the polite title, Mas (‘elder brother’). 37 This song (lagu) is about a place spirit known as Nini Thowok (or Nini Thowong or Ni Thowong). In Banyumas, according to Kartomi (1973:179-89), a ceremony known as Cowongan (spelled Tjowongan in Kartomi’s discussion) involves this spirit who is asked for assistance dur-

Interlude

256

[Suwuk] SEMAR: Son...Bawor, my boy.

662

BAWOR: Uh, do you think it was a good choice?

663

SEMAR: Sure it was. It was a good choice, sure. Thank you. A gift [to those in Banyumas], the song ‘Nini Thowok’ in Semarang style.

664

PETRUK: Who was it that just sang, Father?

665

SEMAR: Well that was Miss Sunyahni from Sragèn.

666

PETRUK: Oh, aye.

667

Tholé...Bawor, anakku lanang. Anu...apa, Mak...cocok, Mak?

Iyå-yå-yå. Cocok, iyå. Kesuwun. Dioléh-oléhi lagon Nini Thowok gagrag Semarang.

Ingkang nembang, sinten niku kålå wau, Kyai? Ha-iyå, Ni Mas Sunyahni, såkå Sragèn kuwi! O, inggih.

ing times of drought (this might be why I have never seen this performed since the crops were good during my stay in the area). The ceremony employs a homemade doll animated by the participants and made to dance (see also Rassers 1959:29-44). In most parts of Java, however, Nini Thowok is simply a doll used in children’s games (dolanan), although the text to this song implies she is more than that (see my transcription in Appendix VII): Lively when possessed Nini Thowok nods her head, A coconut and some clothes seems like a living person, Tied up in her sash an ancient mother tugged to and fro, Shouting noisily [they] tease Nini Thowok, Nini Thowok, those children keep tormenting you, But they shouldn’t want to become your enemy, Nini Thowok, Nini Thowok, those naughty she bites, Nini Thowok, Nini Thowok, those nice she guards [gobyogan (a more animated section of the piece)]: Yo, let’s go, welcome two people just arrived, Nini’s here, Nini Thowok, your children search above, Yo quick, go find some clothes with stripes, And if you don’t become a coconut again, Yo we’ll cheer, we’ll cheer, we’ll cheer, hooray!

Gara-gara SEMAR: Enough my sons, Pétruk, Bawor. Just as one will snuff a lantern fire so do I now end my rest from anguish,38 my weariness is gone for a while. Well, let us return to our story. Remember, remember well, remember your masters who suffer in misery, a time when a royal palace could be overgrown with jungle--if it was cleared in the morning, it would be overgrown again by evening, and if it was cleared in the evening, by morning it would be overgrown again.

668

GARENG: That’s nothing if I think about his majesty King Puntadéwa becoming an ogre--what about that, Father?

669

SEMAR: You’re absolutely correct, my son Nala Garèng. Wah, Lord Wrekudara has become a white, diamond-eyed elephant. But at least they aren’t suffering in sickness like Lord Janaka. Can you imagine suffering from such an illness, my sons Nala Garèng, Pétruk, Bawor?

670

BAWOR: Well, let’s go then, Pa. Where should we go?

671

SEMAR: Master Janaka needs watching over. Let’s go look after Master Janaka.

672

BAWOR: Oh, so it’s to Madukara, is it?

673

PETRUK: Wah, of course, Father. If it pleases you, we’ll accompany you to Madukara.

674

38

257

Uwis, tholé--Pétruk, Bawor, damar mancung cinupes saméné waé léhku ngaso. Wis ilang sawetårå sayahku. Lha, iki bali mring pagelaran. Éling... éling-éling...éling-éling bendaramu lagyå pådhå nandhang sungkåwå. Måså iyå klakon ånå kraton kok thukul glagah pengalang-ngalangan. Dènbabadi énjang, soré thukul; dibabadi soré, énjang thukul.

Niku mboten dados punåpå, såyå menawi énget Gusti Prabu Puntådéwå dados butå--niku kok, Kyainé. Mulané kuwi, Tholé Nålå Garèng. Wah, Ndårå Werkudårå dados gajah séta nétra kumålå. Ngono-ngono kuwi ora ngrasakaké sakiting rågå, balik Ndårå Janåkå lé gerah ké [kaé], kepriyé? Nembé menangi ånå sesakit kåyå ngono kaé, Tholé Nålå Garèng, Pétruk, Bawor.

Ya ayuh, Mak. Sowané ngendi?

Sing perlu njågå Ndårå Janåkå, pådhå nunggoni Ndårå Janåkå. O, aring kesatrian Madukara, ya? Wah, leres, Kyai. Månggå, kula dhèrèkaken sowan dateng Madukårå.

These words make up a riddle with the last word providing an additonal poetic clue.

act 2

Pathet sanga [Buka Gendhing Renyep laras sléndro pathet sanga] GARENG : 5 6 1� 5 6 1� 6 5 1� 5 35 No-na-ni no-na-ni-né no-ni-no-né 2 1 6̣ 5̣ 3 5 35 32 no-né no-né no-né no- né GARENG: No-na-ni no-na-ni-né no-ni-no-né, no-né no-né no-né no-né.

[Renyep gendhing kethuk kalih kerep] [Minggah Ladrang Éling-éling Kasmaran] [Laras sléndro pathet sanga] PETRUK: Garèng, you just sang the buka to the gendhing.

675

GARENG: Huh-huh!

676

Kang Gareng mbawani gé [kiyé]!

Huh-huh!

[Sirep] DHALANG: It was still and lonely, not a human utterance was heard. Where was this? It was at the estate of Madukara. Prince Arjuna was lying by his two wives. Despite their attention, he was deathly ill. He was unable to drink, unable to

677

Sepi mamring tan kapiarså åbå suwantening jalmå menungså. Wonten pundi tå punikå? Ingkang wonten Kasatrian Madukårå. Radèn Arjunå gumlinthing wontening tilam rum, tinenggå dèning garwå kekalih. Sinaosa Radèn Arjunå lagyå nand

260

Act 2 hang gerah. Mboten kerså ngunjuk, mboten kerså bujånå, mboten saré, mboten kerså jumeneng såyå-såyå lenggah. Sampun pikantuk madyå cåndrå kapårå langkung, parandéné selirå [slirå] wetah. Ing semu Radèn Arjunå lagyå gerah raos.

dine, unable to sleep, and unable to stand up or even sit. Though he suffered thusly for over half a month, his body was nevertheless unimpaired. It appeared that Prince Arjuna suffered only through his spirit. Who were they that sat side by side in the front? Those were the two wives, beautiful beyond words, of softspoken nature, with skin so fair appearing almost transluscent. Even though they were tired they looked radiant, and even though they felt distraught they appeared composed.

678

Sinten tå punikå ingkang pinarak lenggah jajar munggahing arså? Ingkang garwå kekalih, wanudyå éndah sulistyaning warnå, wåndå ruruh, slirå kuning nemu giring, otot bebayu ketingal ijo riyå-riyå. Senajan bombrong, ketingal mencorong. Senajan tå semuntrut [sumuntrut], ketingal patut.

One was called Bratajaya, or Lara Ireng, or Mrenges, and Sumbadra. She was the personification of the beautiful widawati flower.

679

Setunggal yaiku ingkang nami Dèwi Bråtåjåyå, yå Dèwi Wårå Sumbådrå, yå Dèwi Lårå Ireng, yå Dèwi Mrenges. Wanudyå panitising widåwati, yåiku Dèwi Wårå Sumbådrå.

Who was it that sat next to her? A female warrior from the kingdom of Pancala Radya, daughter of King Drupada, she was known as Srikandhi.

680

Sinten tå punikå ingkang pinarak lenggah jajar? Wanudyå kaprajuritan, wanudyå saking Negari Pancålå Arjå [Pancålå Radyå], putri Ratu Drupådå. Yåiku ingkang kekasih Dèwi Wårå Srikandhi.

Who was that visiting, above them in the back? Ki Lurah Semar, Nala Garèng, Pétruk, and Bawor had arrived.

681

Sinten tå punikå ingkang sébå munggahing wuri? Dumugi pisowanipun Ki Lurah Semar, Nålå Garèng, Pétruk, miwah Bawor.

Quietly, they all sat down with bowed heads only to stand up again and nervously pace about with eyes to the ground, desperately hoping for their sick lord to speak. Hush, and listen to what was said when Srikandhi finally broke the silence, speaking softly...

682

Alon-alon samyå lenggah-lungguh tumungkul mari kelu yayah konjemkonjeming bumi, wedanané. Ing semu dahat, anderå [anggènirå] nganti-anti pangandikané bendårå. Sinigeg kang murwaning kåndhå duk nalikå samono, Dèwi Wårå Srikandhi kepareng mecak [mecah] sepèn. Alon-alon pangandikané:

SRIKANDHI: Sister, what can we do about our lord? Perhaps I should find wise

683

Kang Mbok, kados pundi Njeng Pengèran [pangèran] mekaten

Pathet sanga men and order them to cure our lord, Sister!

261

punikå? Punåpå ri [ari] padukå kulå badhé tinanggenah kinèn ngupadi nujum ajar pendhitå? Kinèn ngusadani dhumateng Njeng Pengèran, Kang Mbok! 684

SUMBADRA: I know, Princess Srikandhi, my sister. I too am unhappy to see our husband suffer so, Sister.

Iyå, Dhi Ajeng Wårå Srikandhi. Senajan aku ugå émenging penggalih bapaké kulup sengsåyå [sangsåyå] kåyå ngono kuwi, Dhi Mas.

[Udhar] SEMAR: Oh my, oh my, a tiny pinch and a lot of mumbo-jumbo. Your humble servant, Badranaya, is here, Princess.

685

SRIKANDHI: Come, we need your advice, Brother Semar. Thank goodness you’ve arrived.

686

SEMAR: Oh, of course, Princess.

687

Lahé-lahé, sadulitå humel-humel. Ingkang abdi kulå Brådånåyå sowan, Dèn.

Mrayogakaké sawetårå dhisik, yå Kakang Semar? Syukur bagyå séwu ingkang Brådånåyrå pådhå dumugi. A-inggih, Dèn.

[Suwuk] [Sulukan pathet Tlutur Banyumasan] [laras sléndro pathet sanga] DHALANG : 1� 6 6 6 6 6 6 61 \� 6 6 O... Ri-nå-så pe-pes ang-ga- ni-rå, 1 3 3 3 3 3 3 3 3 61�-65-635 \ \ O... Sa-sat i-lang be-ba-yu-né. O... Balungan:

6

5

6

5

Balungan:

2

3

2

1

DHALANG :

1 Sam-

1 bat-

1 é

1 re-

1 ran-

1 ta-

1 ngan

Balungan:

2

3

2

1G

Balungan:

3

3

5

3

Act 2

262 DHALANG : Balungan : 1 DHALANG : Balungan

:

3 3 3 3 3 3 3 3 Ri- na- os pin-dho ri- nu- jit, 2 3 2

1� O...

2 2 2 Na- lång-så

6 1�

DHALANG : 2 2 2 2 2 ka- da- lu war-så Balungan

:

2 3

DHALANG :

2 2 2 Was- på- då

Balungan

6 5

:

3 \ re-

DHALANG :

6

5

1 6̣ 5̣ O... 2 3\ su 3

1 2 \ 3 mi-

2 jil

321 \

5G

5̣ É...

DHALANG [text translation]: O... my body feels feeble, O... as if all its energy lost, Aches strung together like a chain, Agony lashing again and again, O... crushing grief, Too late, You alertly appear... É... SRIKANDHI: Brother, Semar, Brother?

688

SEMAR: I am at your command, Princess.

689

SRIKANDHI: Did your sons, Nala Garèng, Pétruk, and Bawor, come with you?

690

SEMAR: Ah – indeed. There they are, Nala Garèng, Pétruk, as well as Bawor are here.

691

SRIKANDHI: But, where’s Bawor?

692

SEMAR: Hah, he’s in the back.

693

Kakang Semar, Kakang? Kulå nuwun dhawuh pangandikå, Dèn. Barang pisowané anakmu Nålå Garèng, Pétruk, lan si Bawor? Hinggih [inggih]. Lha punikå, Nålå Garèng pun Pétruk, Bawor, ugi sowan mriki. Lho, kok si Bawor ora kétok? Hah, wonten wingking.

Pathet sanga PETRUK: Brother!

694

BAWOR: Here I am. When I’m asked for, then I feel welcomed!

695

PETRUK: This guy. Everytime when we go visiting he does this “when I’m asked for then I feel welcomed” business. This guy’s crazy. Your humble servant, Pétruk, has also arrived, Princess.

696

SRIKANDHI: Thank you, Pétruk. Brother Semar, Nala Garèng, Pétruk, and Bawor, help us, please.

697

SEMAR: Of course, your wish is our command, Princess.

698

SRIKANDHI: Older Sister?

699

SUMBADRA: Princess Srikandhi, what is it?

700

SRIKANDHI: Since our lord’s condition has not changed up to now, what do you think we should do? Fortunately, Elder Brother Semar, Nala Garèng, Pétruk, and Bawor have come. Perhaps I should go search for a remedy. When shall I depart, Sister?

701

SUMBADRA: Princess Srikandhi.

702

SRIKANDHI: Your command, Sister?

703

SUMBADRA: Our husband’s situation is this: so far, he won’t eat, he won’t drink,

704

263

Kang? Kéné baé lah. Mbok ditakoni keslametan inyong, lah! Kiyé wong mesthi angger ditakoni keslametan, mesthi gilå, kiyé wong. Kulå ingkeng abdi Pétruk ugi sowan, Dèn.

Iyå, Pétruk. Kakang Semar, Nålå Garèng, Pétruk, Bawor, pådhå mrayogaknå, yå? Inggih, ngèstokaken dhawuh, Dèn.

Kang Mbok? Dhi Ajeng Wårå Srikandhi, iyå Dhi. Awit seprikå-sepriki Njeng Pangèran mekaten kémawon wontenipun, lajeng kersanipun Kang Mbok kados pundi? Mumpung punikå Kakang Semar, Nålå Garèng, Pétruk, Bawor sami dumugi wontening mriki. Menawiné ngupadi jejambi. Mbénjang kapan anggèn kulå bidhal, Kang Mbok. Dhi Ajeng Wårå Srikandhi? Nuwun dhawuh pangandikå, Kang Mbok. Yekti bapaké kulup kåyå ngono kuwi. Dhahar ora kerså, ngunjuk ora kerså,

264

Act 2 ngendikå saklimah waé ora kerså... wis saprono-sapréné, nanging slirané kok yå wutuh, nora kuru. Iki sesakit åpå, Kakang Semar?

and he won’t even say a word. His body appears to be healthy: he isn’t growing thinner. What kind of illness is this, Elder Brother Semar? SEMAR: I am at a loss to say anything. So, what do you wish us to do? I may be an old one, but I’m indeed sorry to say that I’ve never before seen a condition such as this. I know that many wise men, priests, and teachers have been asked here to cure our lord, yet not a one of them could offer advice on how to be rid of this illness that resides in Janaka’s body.

705

SRIKANDHI: If that’s the case, who knows? Perhaps the one fated to find a cure is you, Semar. Indeed, you do have the magical knowledge. Who can tell, Badranaya. Come on, Elder Brother, heal your patient.

706

SEMAR: Oh my, oh my, a tiny pinch and a lot of mumbo-jumbo. I can do nothing, nothing. If I could, I wouldn’t wait to be ordered to heal him, Princess. Eh, perhaps Nala Garèng might have some sort of magic or spell. How about it, Nala Garèng?

707

GARENG: Nothing whatsoever. I can’t heal illness, can’t do it; but if I were asked to heal sadness with laughter, that I could!

708

PETRUK: Ah, this guy’s talk. Quit your foolishness, Garèng! Hey, Bawor!

709

Kulå mboten saged matur punåpåpunåpå. Heeh...lha inggih, sumånggå, kersanipun kados pundi? Yektosipun sinaosa kulå tiyang sepuh, nggih émeng ninggali wonten kedadosan ingkang mekaten punikå. Kulå ngertos sampun kathah nujum ajar pendhitå, brahmånå, resi, ingkang dipun aturi rawuh ngusadani ndårå kulå, pengèran. Parandéné setunggal mboten wonten ingkang saged nyranani icaling sesakit ingkang kaslirå dèning ndårå kulå, Janåkå. Yèn kåyå ngono, såpå ngerti, såpå sing ngerti mandar jodhoné kuwi Kakang Semar dhéwé. Mulå iku Kakang Semar. Ora kétang saklimah, mbok menåwå Kakang Semar duwé jåpå måntrå. Såpå ngerti, Kakang Bådrånåyå. Ayu [ayo] tå, Kakang, diusadané momonganmu. Lahé...lahé, sadulitå humel-humel. Mboten ngertos punåpå-punåpå. Menawi kulå saged, mboten usah dipun utus sampun kulå jampèni, Dèn. Éh, mbok menåwå kowé, Nålå Garèng. Nduwé jåpå åpå måntrå åpå, Nålå Garèng? Babar pindhah. Kulå kèn njampèni tiyang sakit niku mboten saged. Angger njampèni tiyang susah, kèn bingah, lah saged! Kiyé wong ngomong. Aja sekepénakmu, Kang Garèng! Kang Bawor?

Pathet sanga BAWOR: Watcha’ want?

710

PETRUK: You’re supposed to be able to heal the sick.

711

BAWOR: I could maybe heal a person, if I’m under trance at a hobby-horse trance dance performance. Then I’d have enough power to do it, I would.1

712

1

265

Ngapa-lé [lah]? Rikå sing sok biså nambani.

Inyong bisa nambani. Ning angger ånå èbèg, mendem inyong, lha tèyèng, inyong.

The word èbèg refers to a tradition well known in the Banyumas region and by different names in the rest of Java. In Central and East Java, such hobby-horse trance dance is commonly called jaran képang, kuda képang, jatilan, or réyog and in West Java, kuda lumping (see individual items in Kunst 1973 and Pigeaud 1938). Performance of èbèg involves several male trance-dancers, one or more shaman, and sometimes a masked character. Music is provided by a small (meaning fewer instruments) iron gamelan – without the softstyle instruments and only sléndro tuning – and sometimes with an oboe-like instrument called terompet (see also my comments on the piece Éling-éling, following item 854). Dancers perform using flat hobby-horses made of woven and painted rattan or bamboo. Trance among the dancers is induced through music (certain pieces like Éling-éling, when played in trance-dance style, are associated with trance behavior) and through the skills and powers of the shaman. The shaman is sometimes called a dukun (traditional priest or healer) although his association with èbèg makes him somewhat suspect among some villagers. He is also sometimes referred to as the ‘dhalang’ since he has complete power over the dancers when they become possessed. Only he can control them and bring them out of trance. If he does not have the powers necessary to control the dancers, he may fall into trance himself and must be brought out by a master shaman (one is, of course, always present). Audience members, too, sometimes inadvertently fall into trance, but I was told that this can only happen if the person has once intentionally gone into trance. Indeed, my more orthodox Islamic friends in Banyumas looked with disapproval toward èbèg and remarked that the shaman and dancers have all turned from God. To be a shaman or dancer, they told me, one must believe in traditional Javanese religion (kejawèn) and, therefore, renounce Islam. Trancers are usually possessed by animal spirits and the shaman demonstrates his control over them by compelling them to eat animal fodder and other inedible material (sometimes even glass) and to perform superhuman feats (break coconuts open with the head and so forth). The shaman exercises his control over each trancer by whispering secret incantations (or simply blowing) into his ear, waving incense around him, or sprinkling him with magical water. One performer may wear a grotesque mask and is known as the barongan, who represents a tiger spirit (Kunst [1973:284, note] mentions that the term means ‘bear’). It may be that trance-dance performances are vestiges of musical dramas depicting heroic battles. Kunst (1973:284) describes one as follows: Often, in these hobby-horse dances, there comes on the stage, in addition to a couple of ménaks (knights) and their followers – the latter sometimes ‘on horseback’, sometimes not – a barongan, monster from the woods, a kind of fantastic tiger, with which the horsemen enter into combat. The performances I witnessed in Banyumas did not involve combat between the barongan and

266

Act 2

SRIKANDHI: Pétruk?

713

PETRUK: Your command, Princess?

714

SRIKANDHI: Well, we can’t do anything about it, eh Pétruk? That’s just the way it is. I do thank you for coming, but please don’t leave. Help us watch over your master just in case he needs anything or wants to speak.

715

PETRUK: As you wish.

716

GARENG: My lord, Janaka, lord! If you just want to whisper something, that’s okay. What do you wish? Would you like to eat? What would you like to eat, Lord? You wish to eat some lonthong? Yes... Yes... Lonthong? Daddy’s lonthong?2 Master! How about lonthong smothered in fried eels, okay? Huh-huh! Oh, Master! Master! Ah...would you like banana or durian? Go look for some over there! Then maybe you can share them with me.

717

PETRUK: There he goes again! Trying to get the sick to wait on the healthy.

718

Pétruk? Dhawuh pangandikå, Dèn! Yå sepuluh-puluh, yå Pétruk? Anané njur kåyå ngéné. Aku ketrimå kowé pådhå tekan mréné. Åjå pådhå lungå. Mélu njågå bendaramu mbok sewanci-wanci kepareng mundhut åpå kerså ngendikå, Pétruk. A-inggih! Dèn ndårå kulå, Janåkå, Dèn! Mbok nggih kerså ngendikå lirih mboten nåpå-nåpå. Mundhut nåpå? Badhé kerså dhahar? Dhahar punåpå, Dèn? Ndårå badhé kerså ndhahar lonthong? Inggih... Inggih... Lonthong? Lonthongé Bapak? Ndarané, Lonthong ngelih [kalih] welut, nggih? Huh-huh! Oh, Ndarané! Ndarané! Ah...kerså ndhahar pisang nåpå durèn? Mrika mados! Mengkin kulå nyuwun.

Uu-iyuh, kiyé uwong maning! Malah sing lagi gerah supåyå ngewulani [ngawulani] sing waras.

the horsemen. Before entering into a trance-state, the horsemen simply danced in formation (rows of two or three, depending on their numbers) while the barongan danced separately off to the side. When they entered trance the hobby-horses were taken away and the barongan character removed his mask. The entranced performers often continued to dance (if they were not engaged in superhuman feats), but without organization, each holding his arms out rigidly with fists clenched tightly and his eyes staring off into space. Sometimes a trancer leapt about and ran directly into the audience milling around the performance area (usually an open field). This both horrified and thrilled the audience members since trancers are seen as potentially dangerous. Indeed, audiences seem generally both fascinated and repelled by these performers, sometimes viewing them as repulsive, even threatening, and sometimes as comical, even pathetic. 2 The word lonthong refers to rice cooked in palm leaves to form the shape of a cylinder. The expression ‘Daddy’s lonthong’ (lonthongé bapak) is the euphemism a Javanese woman may use to refer to her husband’s penis.

Pathet sanga SEMAR: Heh. Son, Nala Garèng, please don’t be foolish. How your master suffers, and yet your words are thoughtless.

719

SRIKANDHI: Elder Brother Semar?

720

SEMAR: I await your command, Princess.

721

SRIKANDHI: In addition to worrying over my husband, I can’t help but think about the others: The King of Ngamarta who lost all trace of his former appearance, Brother Wrekudara who has become an elephant, and young Nakula and Sadéwa who both have become forest deers. Why did such a fate come to pass? How could it be, Elder Brother Semar?

722

SEMAR: But, why do you ask me, Princess? Very well, I’ll tell you what I know.

723

267

Héeh...Tholé Nålå Garèng, mbok kowé åjå nggluwèh. Kåyå åpå sungkawaning bendårå, lho. Kok tembungmu nggluwèh, Nålå Garèng? Kakang Semar? Kulå nuwun dhawuh pangandikå, Ndårå. Ngejåbå manggalihaké bapaké kulup sing kåyå ngéné, ugå aku tansah manggalihaké Kåkå Prabu ing Ngamartå ingkang ical sipating Naléndrå Ngamartå, sipat rasekså. Ka Mas [Kang Mas] Werkudårå ingkang dadi Gajah, Dhi Mas NakulåSadéwå kang dadi kancil. Kok dadi ånå lelakon kåyå ngéné iki? Kepriyé, Kakang Bådrånåyå?

Lho, kok mundhut priså [prikså] kaliyan kulå, Dèn? Ha-inggih, cobi seserepan kulå. Kulå aturaken penjenengan, Dèn.

[Srepegan in Solonese style laras sléndro pathet sanga] [Suwuk] [Sulukan ada-ada greget saut laras sléndro pathet sanga] DHALANG : 6 6 6 6 6 6 6 6 Mi-yat la-ngen-ing ka-lang-yan, 2-5 5 5 5 5 5 1� A- glar pan-dhan mon-car, O... 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Ti-non lir ke-ko-nang su-rem so-rot-é tan pa-dhang,

268

Act 2

2 2 2 2 2 2 2 2 2 2 2 2 2 3216̣ 6̣ Su-rem so-rot-é tan pa-dhang pur-na-nèng ge-gånå, 1 É... DHALANG [text translation]: See the beauty that captivates, The scattered lanterns shining, Like the soft flickering rays of fireflies,, Their flickering feeble in the greatness of the heavens... É... SEMAR: My oh my oh my, Princess. Mistress Srikandhi.

724

SRIKANDHI: What is it, Elder Brother Semar?

725

SEMAR: After holding my lord Janaka’s leg, heh, I can detect no fever suggesting an illness. And although he has not had anything to eat or drink to this moment, his body seems unaffected. Heh, what manner of sickness is this, Princess?

726

SRIKANDHI: Indeed, that’s just it, Elder Brother Semar. How could have something like this come to pass?

727

SUMBADRA: We ask you: what are your thoughts?

728

SEMAR: Forgive me, but for now, these are my words. The two of you are obviously very weary. My ladies Sumbadra and Srikandhi, please. I beg you both to rest. At least you may sleep. Later, you can take over. Heh, how many nights have you gone without sleep?

729

Lahé-lahé, Dèn. Ndårå kulå, Wårå Srikandhi. Kepriyé, Kakang Semar? Sasampunipun kulå nyepeng samparanipun ndårå kulå, Janåkå – héh, adhem-angetipun kados déné mboten gerah. Slirå seprikå-sepriki, sinaoså mboten kerså ngunjuk, mboten kerså dhahar, nanging sliranipun wetah. Héh, lha niki gerah nåpå, Dèn? Mulå kuwi, Kakang Semar. Kepriyé dadi ånå ngedadian kåyå ngéné?

Måså Bodhoå. Kakang Semar, kepriyé pinemuné Kakang Semar? Mpun, saniki [saiki] ngaten mawon. Ing semu sampéyan kekalih niku leseh sanget. Dèn, ndårå kulå Wårå Sumbådrå, Wårå Srikandhi, månggå. Kulå aturi sampéyan sesarengan ngaso. Syukur bagyå saged saré. Mangké gentosan. Heh, pinten ndalu sampéyan mboten saré?

Pathet sanga SRIKANDHI: Come, Sister! We have been relieved by Elder Brother Semar, Nala Garèng, Pétruk, Bawor, who will watch over the Prince.

730

SUMBADRA: Very well, but take care, Elder Brother.

731

269

Månggå, Kakang Mbok. Kapurih dipun gentos dèning Kakang Semar, Nålå Garèng, Pétruk miwah Bawor, ingkang nenggå Njeng Pengèran. Iyå, nanging sing ati-ati, yå Kakang?

[Srepegan in Solonese style laras sléndro pathet sanga] SEMAR: Assuredly. Please, I beg you to go now and rest.

732

Hah-inggih. Månggå sampéyan, kulå aturi ngaso.

[Suwuk] SEMAR: My oh my oh my. A tiny pinch and a lot of mumbo-jumbo. Nala Garèng, Pétruk, Bawor gather here. Let us hope that while we watch over him, Master Janaka will decide to speak. Who knows?

733

BAWOR: Huh, lah! Actually, d’ya think he feels anything, Dad?

734

SEMAR: I really don’t know.

735

PETRUK: Brother, if you knew where Master Janaka had feeling, what then?

736

BAWOR: Eh, maybe I’d be able to heal him.

737

GARENG: They say it’s in his whatzit.

738

PETRUK: Hey, you don’t know what your talking about.

739

Lahé-lahé. Sakdulita humel-humel. Nålå Garèng, Pétruk, Bawor mréné pådhå kumpul. Héh, mugå-mugå sasuwèné aku karo kowé pådhå njågå Ndårå Janåkå kerså ngendikå. Såpå sing ngerti? Huh, lah! Jan-jané sing dirasa si, apaya, Mak? Aku ora ngerti. Kang Bawor, yèn ngerti sing diråså Ndårå Janåkå? É, mbok menawané inyong tèyèng nambani. Jèré neng nganu? Hayo, ngerti ora, mélu ngomong.

270

Act 2

GARENG: Master Janaka has feeling in his neck. Underneath his ears, that’s swollen.3

740

PETRUK: [Laughing:] Kiyé wong yèn ngomong sekepénakmu, Kang! Wus ngerti ora, mélu-mélu omong.

741

SEMAR: Son, Nala Garèng. Eh, let us just hope. But, if I think back, the land became cursed around the time when Master Srenggini claimed that Master Wrekudara was his father and was turned away.

742

PETRUK: Of course. But it wasn’t Master Wrekudara who turned him away, Father. As far as I know, Master Wrekudara did at first admit it, then he was talked out of it by Priest Durna. It was Priest Durna who had Srenggini beaten, and would have been happy to have him killed. Why, everything was all in an uproar.

743

GARENG: Oh ya, Thong, I...

744

PETRUK: Why sure, Garèng was there, too. Do you think Srenggini was really Master Wrekudara’s son or not, Father?

745

SEMAR: Eh, remembering his words, I’m sure he spoke true. But, in any case,

746

Sing diraos Ndårå Janåkå neng jånggå. Ing ngandhap kuping ki mbendhil. [Laughing:] Kiyé wong yèn ngomong sekepénakmu, Kang! Wus ngerti ora, mélu-mélu omong. Tholé Nålå Garèng. Éh, mugå-mugå, né [nanging] yèn tak éling-éling, wiwit negårå sukertå ingkeng mengkéné iki wiwit jamané Ndårå Srenggini ngaku sudarmå marang Nderå [ndårå] Werkudårå ora ditampi. Lha-inggih. Nalikå samanten mboten saking Ndårå Werkudårå ingkang mboten nampi kok, Kyai. Ngertos kulå Ndårå Werkudårå nggih ngangken ning lajeng kabujug dèning Pendhitå Durnå. Pendhitå Durnå ingkang utusan murih Srenggini dipun perwåså, syukur bagyå dipun pejahi. Lah, nalikå semanten pancènipun gègèr sedåyå. O-yå, Thong, aku... Ha-iyå ng [wong] Kang Garèng yå ngalami. Kinten-kinten Srenggini niku nåpå putranipun Ndårå Werkudårå kulå saèstu nåpå mboten, Kyai? Éh, anut marang tembung pangandikané bener. Ning sepuluh

3 The word used here is mbendhil, a Banyumas word that refers to any swelling or protrusion on the body (Rasito explained that the Javanese synonym is plenthung). Here, Garèng is ostensibly pointing to Arjuna’s adam’s apple but of course his penis is implied by the word. Sexual references such as this and the previous one (item 717) are likely inspired by Arjuna’s reputation as a great lover.

Pathet sanga why would Priest Durna manipulate Master Wrekudara? Whatever that Priest tells him to do, he obeys. PETRUK: Sure, but then things turn out like this.

746

747

kinapakaké Ndårå Werkudårå ki arepå kepriyé? Yèn pangandikané Pendhitå Durnå ki, mesthi digugu ditut-wuri. O-inggih, ning tundoné lajeng wonten ngedadosan mekaten.

[Sulukan ada-ada alas-alasan laras sléndro pathet sanga] DHALANG : 2� 2� 2� 2� 2� 2� 2� 3� 1� La-ngit ge-lap ge-lap ka- ton,

5 5 5 5 5 5 Lir ken-cang-ing a-lis,



6 1�-2� 1� 1� 1�6 5 1 1 1 1-2 1-6̣ 1 Ri-sang ma-wèh nggan-drung sa-ba-rang ka- du- lu,



1� 1� 1� 1� 1�-61�2� 1�2�3�1� 3 3 2 2 2 2 Wu-kir mo-yag ma- yig sa-king tyas ba-li-wur,



6-1� 5 3 2 3 5 Lu- ma-ris sang gan-drung,



6 1�-2� 1� 1� 6 5 1 1 1 1 1 1 Dhuh a- ri su-mi-trå tå-nå-yå pa-ran-rèh,



2 2 2 2 2 2 2 2 2 2 2 2-321 6̣ 1 Ka-bèh si-ning wå-nå nang le-så-yå ma-ring sun, É...

DHALANG: The flickering sky seems to undulate, Like a frowning forehead, Of one impassioned, everything seems, A mountain shaken by bewilderment, Passion pours forth, Oh, my brother and friend what is this you do, All those in the forest bring grief to me... É...

[Umpak gendèr with sabetan balungan] Gendèr : · · · 5 5 · · 6 3 5 6 5 · 1 6̣ 5̣ 5̣ 6̣ 5̣ 2 · 6̣ 1 5̣ 6 1� 6 2 6 1� 6 5 6 1� 6 2 6 1� 6 5 · 6̣ 5̣ 6̣ 1 5̣ 6̣ 1 5̣ 6̣ 5̣ 6̣ 1 2 3 1 Balungan Kendhang

: · · 5 · · 5 · 1 · · 5 · · 5 · 1 : o o d o o d o · o o d o o d o ·

271

Act 2

272 DHALANG: Thus it is told that Srikandhi and Sumbadra went to sleep, hoping to briefly ease their weariness. Prince Janaka lay sprawled on his bed, guarded by the four clowns. It is said that the envoy from the kingdom of Jongparang, Counselor Tenung Turanggadhèsthi then approached the lands of Madukara.

748

Kacaritå Wårå Srikandhi-Wårå Sumbådrå mapan saré ing pangajab ngaso sawetawis. Radèn Janåkå gumlinthing wonten tilam-rum tinenggå panakawan catur. Kocap utusan saking Negari Jongparang, Patih Tenung Turånggådhèsthi, sampun dumunung wonten kukubaning Kesatrian Madukårå.

[Sampak in Solonese style laras sléndro pathet sanga] [Kombangan dhalang] [Palaran Pangkur Paripurna laras sléndro pathet sanga]4 [Sirep: Srepegan in Solonese style laras sléndro pathet sanga]5 DHALANG: Then Tenung Turanggadhèsthi arrived right outside of the estate, unbeknownst to the servants and subjects of Madukara. Tenung Turanggadhèsthi, however, was an ogre of supernatural power, possessing many magical skills. Stopping stock still, like a statue,

4

749

750

Wau tå, Tenung Turånggådhèsthi mapan wonten sanjawining [sajawining] kasatrian, mboten konangan dèning pårå gandhèk wandåwå ing Kasatrian Madukårå. Tenung Turånggådhèsthi senajan tå denåwå digdåyå, sugih jåpå måntrå, kandheg ngubleg-ubleg kados gupålå. Tenung Turånggådhèsthi

This follows three knocks on the puppet box to signal sirep (short-long-long) and a kombangan dhalang. The group almost always plays Palaran Pangkur Paripurna at this point in the evening and the kombangan probably does not serve any real function here. However, if the group were not sure which palaran to play, the kombangan on pitch 2 would be enough to indicate that it is Pangkur Paripurna. The text probably refers to the powerful ogre: Surrounded like a person caught in a net, Struggling like dying deer, This is an outstanding warrior, Magically powerful and invincible, World renowned champion he fights hand to hand, So brave and so mighty, Routinely dispatching his duty. 5 The sirep is cued by the dhalang’s opening word to his narration (‘wau ta...’) at the end of the palaran, and the music becomes quiet at the beginning of the srepegan.

Pathet sanga

273

matak aji sirep pocong layon. Ampuh mandi kepati-pati dayané aji sirep pocong layon, yå sirep bujung mayit. Mijil saking jwangganipun [jangganipun] Tenung Turånggådhèsthi marutå dayaning aji sirep pocong layon. Kocap kacaritå, Ki Lurah Semar, Nålå Garèng, Pétruk, miwah Bawor keterak marutå dayaning aji sirep bujung layon pådhå saré dadakan, pådhå sanalikå.

Tenung Turanggadhèsthi cast the spell of sleep upon all in the compound. Unsurpassed was the power of this spell of sleep, the shroud of slumber. The power of the spell of sleep emerged as a gust of wind from the throat of Tenung Turanggadhèsthi. When Ki Lurah Semar, Nala Garèng, Pétruk, and Bawor were struck by this wind, they fell into a deep sleep.

[Udhar: Sampak in Solonese style laras sléndro pathet sanga]6 [Suwuk] [Sulukan ada-ada laras sléndro pathet sanga] DHALANG : 6 6 6 6 6 6 Yek-så gu-rå ru-på, 2 3 5 5 5 5 5 1�-2 \�2�22 \ �1� Ri-se-deng-ing na-lén-drå, O... 1 1 1 1 1 1 1 1 1 5̣-6̣1 1 1 1 1 1 1 Yek-så le-la-ku ning kang mal weng kang gam-bi-rå ma-nga-rang, 2 3 5 3 2 2 2 2 2-532 1-6̣ 1 A- ngi-sis si-yung me-tu prå-bå- wå, É... DHALANG: An ogre dreadful in form yet a king, An ogre intending to hammer anyone he pleased, Bared his fangs and brought forth fear... É... TURANGGADHESTHI: É-é-é-é-éh, doom and damnation! Now they’re all sleeping. É-é-éh! Well now, there’re four people here. Oh, I see, these are the clown servants of Prince Janaka, called Semar, Nala Garèng, Pétruk, and Bawor.

751

BAWOR: Oh, lah! Thief...thief!

752

6

É-é-é-é-eh! U-u-u-u-u-u-uh, élah dalah! Pådhå sanalikå turu kabèh. Éé-eh. O, lha iki wong papat. Oh, ngerti aku. Iki punakawané Radèn Janåkå kang jeneng Semar, Nålå Garèng, Pétruk, lan Bawor. Oh, lah! Maling...maling!

At this point, with the sampak, Sugino passes the kayon (tree of life figure) over the puppets and then places them at an extreme angle to represent sleep.

Act 2

274 TURANGGADHESTHI: U-u-u-u-uh! Oh, the one called Bawor isn’t completely out, he still babbling. Oh, they’re out.

753

BAWOR: Oh...thief...thief...thief!

754

TURANGGADHESTHI: What kind of person is this, is he talking in his sleep or is he not yet quite asleep?

755

GARENG: Over there, over there... Goal!

756

TURANGGADHESTHI: Oh, now that person is talking in his sleep, that one. E-e-e-e-e-e-eh. Uuu-uh-uh-uh...but, they’re sleeping in such disarray. There’s one in the west pointing to the north, there’s another in the north pointing to the west. And those two areeast of the other two, é-é-é-é-éh! Oh, four people in one room. É-é-éé-éh! Oh, they must be sleeping. Uh-uh-uh-uh-u-u-uh. Oh, there’s a tall person next to a short person. É-é-é-éh!7

757

BAWOR: Ho...lah, thief!

758

TURANGGADHESTHI: Oh-oh, that one isn’t yet under. I’ll just cast the spell of slumber a second time.

759

U-u-u-u-u-uh! O, lha kaé sing jeneng Bawor durung lali, isih klayar-kluyur turus. O, wis pådhå amleng. Oh, maling...maling...maling! Kaé menungså åpå nglindur åpå pancèn durung turu? U-u-u-u-uh!

Ngonoh...ngonoh! Blessss! O, kaé yå wong nglindur, kaé. U-uu-u-u-u-uh. U-u...turu kok pating slungkrah. Ånå kang nèng sisih kulon mujur ngalor, ånå sing nèng lor mujuré ngulon, sing loro nèng sisih wetan wong loro, é-é-é-é-eh! O, sekamar wong papat. É-é-é-é-eh! O, pådhå turu mesthiné. U-u-u-u-uh! O, kaé wong sing dhuwur karo wong sing cilik. É-é-é-eh!

Ho...lah, maling... O, kaé wong durung lali, tak rambah kaping pindho sirep pocong layon.

[Sampak in Solonese style laras sléndro pathet sanga]8 [Suwuk] TURANGGADHESTHI: É-é-é-é-é-é-é-éh! Now they’re really 7

760

É-é-é-é-é-é-é-éh! O, pådhå turu kepa

Sugino is referring to the sleeping arrangements of the troupe members when they are on the road. 8 Sugino passes the kayon over the puppets one more time.

Pathet sanga

275

ti. U-u-u-u-u-uh, keplarak! O, anubocor kiya genah... Ha-ha-hah! O, kiyé anu wong mumet, kiyé genah. Lé turu kepati – ha! Janåkå ngglinth ing ånå-ånå kang nyandhing. U-u-u-uuh...sepuluh kinapakna kowé Janåkå bakal kanggo bebanten aring Negårå Jongparang. U-uh, iki satriå lagyå nandhang gerah, cekel leboknå nèng sajroning kancing wasiatku. É-é-éh!

passed out. U-u-u-u-u-uh, whoops! O...something leaky here for sure... Ha-ha-hah! Oh, that’s a...uh, a delirious person, that’s for sure. They’re sleeping hard – ha! There’s Janaka sprawled out in the middle of them. U-u-u-u-uh, I don’t care what’s happened to you, Janaka, but you’re to be a sacrifice for the kingdom of Jongparang. U-uh, this warrior is very sick; I’ll just grab him and put him into my magical pocket. É-é-éh!

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] [Sulukan ada-ada laras sléndro pathet sanga] [Céngkok Ki Sugino Siswocarito] DHALANG : 5 5 5 5 5 5 1 1 1 1 2 1-6̣ Yek-så gu-rå ru-på ri-se-deng na-rén-drå,

6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 6̣ 5̣ 6̣ 1 Yek-så la-la-ku-ning kang mal-wèng kang gam-bi-rå,



1 1 1 1 1 2 1 1 5̣ 5̣ 5̣ 5̣ 5̣ 2 Ma-nga-rah a-ngi-sis si-yung me-tu prå-bå-wå, É...

DHALANG An ogre dreadful in form yet a king, An ogre intending to hammer anyone he pleased, Bared his fangs and brought forth fear... É... TURANGGDHESTHI: U-u-u-u-u-uh! Now that I’ve got Janaka in my magical pocket, éh... éh...é-é-éh, they can begin to awaken! Who cares if they wake up now, I’m off!

761

U-u-u-u-u-uh! Sawisé Janåkå lumebu anèng sajroning kancing wasiatku, éh..éh... é-é-éh, arepå pådhå éling. Arepå pådhå tangi mangså bodhoå tak tinggal!

[Srepegan in Solonese style laras sléndro pathet sanga] [Suwuk]

Act 2

276 DHALANG: Thus, Counselor Tenung Turanggadhèsthi left Madukara with Prince Janaka in his clutches. The power of his spell of sleep was withdrawn and Ki Badranaya, Nala Garèng, Pétruk, and Bawor all returned to consciousness.

762

Kocap kacaritå Patih Tenung Turånggådhèsthi medal saking Kasatrian Madukårå sampun nggondhol Radèn Janåkå. Dipun kukut ginulung dayaning aji sirep bujung layon. Pådhå sanalikå, Ki Bådrånåyå, Nålå Garèng, Pétruk, Bawor nggrénjal sedåyå tangi.

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] SEMAR: My oh my oh my, Pétruk, Nala Garèng, Bawor! Why, where has Master Janaka gone off to?

763

BAWOR: Oh, lah. Where is the Master, eh?

764

PETRUK: My gosh! He isn’t here, Brother!

765

GARENG: He was still sleeping just a moment ago, Thong!

766

BAWOR: Do you think he might be tumbling about with the ladies?

767

PETRUK: He’s sick, how could he tumble?

768

BAWOR: Well, as for myself, if the servants were sleeping, ya, I’d go for it.

769

PETRUK: This guy, wah!

770

SEMAR: Heh, Pétruk. This is serious, Truk! Heh, I’m afraid he’s been abducted by a thief, though it’s the middle of the day! Prince...Master, what shall I do, where have you gone, Prince?

771

Lahé-lahé, Pétruk, Nålå Garèng, Bawor, lha iki Ndårå Janåkå nèng ngendi? O, lah. Ndarané si nèng ngendi, ya? Wah lah. Ndårå ora ånå, Kang! Mau, isih saréan ko [kok], Thong!

Åpå ora ngembul aring Ndårå Kusumå Dèwi? Wong agi [agek] gerah, kok ngembul? Éh, inyong-inyong ngayuwèh. Angger batiré wis turu yah [ya] boyong. Kiyé wong, wah! Heh, Pétruk iki nyamari, Truk! Héh, åjå-åjå ånå telik duratmåkå senajan tå wanci siang. Dèn...ndårå kulå kados pundi? Sampéyan wonten pundi, Dèn?

Pathet sanga

277

[Sampak in Solonese style laras sléndro pathet sanga] BAWOR: Oh, Master...

772

SEMAR: Prince...

773

SRIKANDHI: Heavens, Heavens, Elder Brother Semar! Elder Brother Semar, what has happened?

774

O, Ndarané... Dèn... Tobat, tobat, Kakang Semar! Kakang Semar, kepriyé?

[Suwuk] SRIKANDHI: What is it, Elder Brother Semar?

775

SEMAR: Eh, well, Master Janaka is gone.

776

SRIKANDHI: What, gone? Where is he, Elder Brother Semar? Heavens! But, but, he can’t be gone. It was a thief, Elder Brother Semar. A thief!

777

Ånå åpå tå, Kakang Semar? Eh, lha niki Ndårå Janåkå kok mboten wonten. Lho, kok ora ånå, ki nèng ngendi, Kakang Semar? Tobat! Kok Yåyå tå ora ånå. Ånå maling, Kakang Semar! Ånå maling, Kakang Semar!

[Sampak in Solonese style laras sléndro pathet sanga] BAWOR: Thief!

778

GARENG: Thief!

779

BAWOR: Thief!

780

Maling! Maling! Maling!

[Suwuk] TURANGGADHESTHI: U-u-u-u-u-u-uh, doom and damnation! É-é-é-é-éh! No need to be in an uproar, no need to grieve. Up here, look at me, éh-éh, you people of Madukara, I am Tenung Turanggadhèsthi and I’ve seized Janaka. If you can follow my trail

781

U-u-u-u-u-u-uh, élah dalah! É-é-éé-éh! Ora perlu pådhå gègèr, ora perlu pådhå kélangan. Tamang jåjå, éh-éh, wong Madukårå, aku, Tenung Turånggådhèsthi, kang nggondhol Janåkå. Bisa nututi léhku napak ing dirgantårå, tak sembah ubeng-uben

Act 2

278 through the sky, I’ll bow to you in respect.

gan, u-u-uh! 782

SRIKANDHI: Heavens, Elder Brother Semar! Good Lord, isn’t that an enormous ogre there, Elder Brother Semar?

Tobat, Kakang Semar. Lho, kaé ånå buta samono gedhéneé Kakang Semar?

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] SEMAR: Oh, it sure is, Princess!

783

SRIKANDHI: Heavens, Pétruk! That arrogant ogre is carrying the prince, Pétruk?

784

PETRUK: What do you think, Brother?

785

GARENG: Well, so what can we do? He’s flying!

786

SRIKANDHI: Pétruk, that ogre is surely carrying the prince, Pétruk. Give chase, Pétruk! Give chase!

787

O, lah inggih, Dèn! Tobat, Pétruk. Lho, kaé butå sesumbar kaé sing nggåwå Njeng Pengèran, Pétruk? Kepriyé, Kang?

Yå, arep kepriwé? Wong genah ngkana mabur ngomong. Pétruk, nyåtå-nyåtå kaé butå sing nggåwå Njeng Pengèran, Pétruk. Tututånå, Pétruk! Tututånå, Pétruk!

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] [Sulukan pathet Tlutur in Banyumas style] [laras sléndro pathet sanga] DHALANG : 1� 6 6 6 6 6 6 61 \� 561�\6 O... Pu-nå-på tå mi-rah ing-sun, 1� 3 3 3 3 3 2-13 3 3 O... Pri-ya-tin was-på gung mi-jil, 1� 6 5 5 5 5 5 5 O... Tu-hu da-hat tan- på kar-

Pathet sanga

279

[Umpak gendèr] Gendèr : · 2� 1� 6 2� 1� 6 5 · 2 1 6̣ 2 1 6̣ 5̣ Balungan

:

6

DHALANG : 5 yå..

[5]

Balungan

2

:

DHALANG : Balungan

:

5

6

5

3

2

1G

1 1 1 Seng-kang ri 2

1 1 ne- me3

:

3

DHALANG : Balungan

:

Balungan

:

5

2

6 2

3

2

1�

6

5

3

2

1

[2] \ 2 2 la-

Balungan

3

6

3

2 É...

DHALANG : 1 \ 2 \ 2 \ 2 \ 2 \ 2 Su- ma- wur gam- bir me:

1

3 3 3 3 3 3 3 3 Ge-lung ri- nu- sak se- kar-nyå,

1� O...

DHALANG :

1 ti

[1]

3

DHALANG : Balungan : 1

12 gus-

2

DHALANG : Balungan

1 ting

5

\ 2 2 thi...

\ 2

1

5G

DHALANG : 5̣ É... DHALANG: O... why am I so red, O... great tears of grief emerge, O... truly without purpose am I, Deprived and oppressed by my lord, My hair in disarray and its adornment... O... É... Scattered blossoms of jasmine... É... SRIKANDHI: What do you think we should do, Pétruk? An ogre that can fly so high like that? Shall I chase after to get the Prince? What shall we do, Pétruk?

788

Kepriyé prayogané, Pétruk, butå mabur kåyå ngono dhuwuré? Léhku bakal nututi Njeng Pengèran sing digåwå kepriyé, Pétruk?

Act 2

280 PETRUK: Wait, it’s like this...

789

GARENG: That’s it, Kanthong. A sacrifice. You could be thrown at him.

790

PETRUK: Hey, now don’t go trying to kill your own sibling, Brother!

791

BAWOR: Ho-lah, he’s just a speck in the sky and disappearing. What can we do, Kanthong? Boy-o-boy.

792

SRIKANDHI: Hold, I’ll just do this. Watch out, everyone. Pétruk, I’ll just shoot him down with Pasopati, the magic arrow.

793

PETRUK: But, what if you accidently strike the Master?

794

SRIKANDHI: If it strikes the Prince, it won’t harm him. But if Pasopati touches the ogre he will surely fall to his death.

795

PETRUK: When you shoot, take care. I’ll go and wait for it underneath, Princess!

796

Mpun [ampun] ngaten mawon... Niku, Kanthong, nggé [anggé] banten mawon, kapurih mabur dibalangaken. Kiyé åjå niat matèni karo sedulur, Kang! Ho-lah, golé [oléh] mabur kelip-kelip disawang bora [ora] katon kepriwé, Kanthong? Ulu-lu-lu-luh. Wis, saiki kåyå ngéné waé. Kowé sing pådhå prayitnå, ngati-ati. Pétruk, tak jemparing waé nganggo Kyai Pasopati. Lha, mangké menawi ingkang kecandhak Ndårå? Yèn Njeng Pengèran, ora bakal nedhasi. Nanging yèn landheping Kyai Pasopati nyenggol marang butå kuwi methi [mesthi] bakal tibå tumekaning pati. Menawi badhé dipun jemparing, ngatos-atos. Mangké kulå tak ngadhang wonten ngandhapipun rumiyin, Dèn!

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] TURANGGADHESTHHI: É-é-é-éh! U-u-u-u-uh, doom and damnation! Go ahead, if you want to shoot. Shoot, if you can reach me. É-é-éh!

797

É-é-é-éh! U-u-u-u-uuuh, élah-dalah! Hayo [ayo], yèn bakal dijemparing. Jemparingen yèn tå tekan marang aku. É-é-éh!

Pathet sanga PETRUK: Wah, he grows more arrogant, Princess!

798

SRIKANDHI: No matter. Let him, Pétruk. He can’t possibly avoid being hit by Pasopati.

799

DHALANG: Thus, the magical arrow arched off in a flash. And not long after an explosive sound was heard. Despite the ogre’s fluttering evasions, Pasopati headed straight for his body. But the giant had great supernatural powers, and the magical arrow never made it to his body. It began to return to the earth, falling in the middle of the forest.

800

281

Wah, lha nikå mandar sumbar, Dèn!

Ora åpå-åpå. Jornå waé, Pétruk. Mångså ora kecandhakå dèning Kyai Pasopati! Kacaritå, mengkelung mangkåråkårå. Tan kapara dangu kapiarså jumedhèr suwantening sendheng kang kumelap cumlorot Kyai Pasopati njujug raganing denåwå. Denåwå digdåyå sekti måndrågunå. Wasiat mboten tumekå wontening raganipun Tenung Turånggådhèsthi. Wasiat wangsul mengkelung dhawah wonten madyaning wånå.

[Sampak in Solonese style laras sléndro pathet sanga] TURANGGADHESTHI: U-u-u-uh!

801

SRIKANDHI: Heavens, Pétruk. It didn’t strike him, Petruk. It didn’t strike him.

802

PETRUK: Wah, What a disaster, Brother.9

803

U-u-u-uh! Tobat, Pétruk. Ora kenå, Pétruk, ora kenå. Wah, cilåkå malah, Kang!

[Kombangan dhalang] Balungan

: 1

1

1

1 2

2

2

2

DHALANG :

5 3

2

1

5 6 1� Ku-kus-ing

DHALANG: The smoke of...

[Ayak-ayakan in Solonese style laras sléndro pathet sanga]

9

Pétruk is presumably speaking to Garèng.

Act 2

282 Balungan

: .

2

.

1 .

2

.

1 .

3

DHALANG : 1� 1� 1� 1� 1� du-på ku-me-lun Balungan

: .

DHALANG

:

6

.

.

2

2� O...

5 1

6

5

6 5

3

5

6

[2�]

DHALANG: ...incense rising to the sky...

[Sirep] DHALANG: Tenung Turanggadhésthi then quickly departed to return to the kingdom of Jongparang. The magical arrow, Pasopati, dropped to the earth where Srikandhi, Nala Garèng, Pétruk, and Bawor chased after it.

804

Where was this? It was in the middle of a forest. And in the forest was a wild beast in the form of a tiger lying atop a large flat rock and roaring out in pain. It seemed as if the tiger were asking for something.

805

Sinigeg ingkang wonten pundi tå? Punikå ingkang wonten samadyaning wånå. Wonten sato galak arupi sardulå ingkang temumpang wontening sélå kumålåså. Ngungkebungkeb kanthi swårå anggerengnggereng, ing semu sardula agyå [lagyå] andrabé panyuwun.

It was told that Pasopati dropped from the sky, falling to the earth. The falling Pasopati struck the tiger squarely in the neck. With a loud snap the tiger’s neck broke. Suddenly, it lost all appearance of a tiger and changed into the god, Kanéka Putra.10

806

Kocap kacaritå Kyai Pasopati mengkelung saking antarikså, njujug marang bumi. Dhawahipun Kyai Pasopati nrenggel [nenggel] guluning sardulå. Macan thel, tugel janggané. Njlegèdhal ical sipating sardulå dados Sang Hwang [Hyang] Kanéka Putra [Nårådå].

Tenung Turånggådhèsthi bablas wangsul nèng Negårå Jongparang. Wasiat Kyai Pasopati mengkelung njujug ing bantålå, tinututan dèning Wårå Srikandhi, Nålå Garèng, Pétruk, miwah Bawor.

[Udhar: Sampak in Solonese style laras sléndro pathet sanga] NARADA: Hoa...Ha! Ho...garlands three... garlands three, made from the flowers of the hibiscus tree...11 10

807

Hoa...haa! Hoo...galèncong... galèncong, waru dhoyong...

Narada is a powerful god but has a grotesquely fat shape and is sometimes depicted as a comic character. 11 This and his subsequent phrase (item 808) are formulaic sentences that serve only to identify Narada in wayang kulit.

Pathet sanga

283

[Kombangan dhalang] Balungan

: 1 1 1 1

2 2 2 2

6 5 5 5G

5 5 5 5

DHALANG : 5 O... DHALANG: O...

[Srepegan tangisan in Banyumas style laras sléndro pathet sanga]12 Balungan

:

1 2 5 3G

5 2 5 3

5 3 2 1G

DHALANG : 3� 3� 2� 2� 2� É... O... DHALANG: É... O...

[Suwuk]

NARADA: Hu-ha-ha-ha-ha-ha! Om, lords, bless these flowers of the eternal earth.13 Srikandhi.

808

SRIKANDHI: I humbly await your command, your excellency.

809

NARADA: Hu-ha-ha-ha-ha-ha! Nala Garèng, Pétruk, and thou, Bawor.

810

BAWOR: Aye, I am Bawor.

811

PETRUK: Aye, ancient one, I am Pétruk.

812

12

1�

Hu-ha-ha-ha-ha-ha, hong wilahèng awignå sekaring bawånå [buwånå] langgeng. Wårå Srikandhi. Kawulå nuwun dhawuh sabdå pangandikå, Hiwang [hyang] Pukulun. Hu-ha-ha-ha-ha! Nålå Garèng, Pétruk, kalayan [kaliyan] jeneng kitå Bawor. Inggih, kula Bawor. Inggih, ingkeng Wayah. Kulå Pétruk.

See the orginal Javanese text for the transcription of the transition to Srepegan Tangisan. It is, I was told, a uniquely Banyumas piece for wayang kulit. It contains, in addition to the tones of the sléndro scale, three flatted (lowered approximately one-half step) tones. These are indicated with a slash (\) through the appropriate cipher. 13 As in item 807, this phrase is characteristic of Narada and functions simply to identify him in wayang kulit.

284

Act 2

GARENG: Aye, and I, ancient one, am Garèng.

813

NARADA: All of you, listen closely to my words.

814

SRIKANDHI: Assuredly, your excellency, how did this come to be? The sin, ancient one, occurred unintentionally when the magical arrow, Pasopati, struck the tiger directly on the neck. Now, it happens that the tiger has changed into your excellency.

815

NARADA: Yet, I am relieved at thy thoughts. Know, Srikandhi, I have brought about the wrath of Permadi, teacher of the gods in Suralaya. I was turned into a tiger and cast from heaven to live in this forest of thorny bamboo trees and underbrush. I then swore an oath: whatever being releases from this curse, be it mortal or be it immortal, I will grant it one wish.

816

SRIKANDHI: Yes...yes, my lord.

817

NARADA: Thou did not sin. Indeed, I am happy that thou hast delivered me from this curse so that I am once again a god, Srikandhi, Bawor, Nala Garèng, Pétruk. If you seek Arjuna who was carried off to the kingdom of Jongparang, take care. Srikandhi, I give thee these clothes. Remove thy clothes and exchange them for these. After changing thy clothes, thou will carry out deceit through the power of thy loyalty

818

Inggih, kulå, ingkeng Wayah, Nålå Garèng. Kabeh pådhå midangetaké ingkeng dadi sabdané ulun. Kawulå nuwun inggih, Hwang Pukulun, kados pundi? Lepatipun, ingkang Wayah, ingkang mboten sengåjå. Wasiat Kyai Pasopati ngantot [ngantos] njrenggel [nenggel] jangganing sardulå. Ing mangko sardulå ngedadosanipun [kadadosanipun] Hiwang [Hyang] Pukulun. Mandar ulun legå ing penggalih Srikandhi. Ha-ngertènana, Srikandhi. Nalikå samono, ulun lagyå pikanthuk benduné Hwang Permadi, guru ing Kayangan Surålåyå. Dadi sardulå njur pun ulun tumurun såkå ing kayangan manggon ånå ing samadyaning wånå greng bebondhotan iki, Srikandhi. Pun ulun andarbé prase tya: såpå titah såpå jawåtå ingkang biså ngruwat ulun pulih dadi déwå, åpå kang dadi pamintané, ulun bakal nyembadani. Nuwun, nuwun inggih. Jeneng kitå nora luput, mandar ulun ingkang bungah jeneng kitå jeneng ngruwat ulun pulih dadi jawåtå – ingkang iku, Wårå Srikandhi, Bawor, Nålå Garèng, Pétruk. Kalamon kitå pådhå ngupadi Harjunå [Arjunå] ingkang kegåwå marang Negårå Jongparang, sing ati-ati. Srikandhi iki ulun maringi ageman, ageman iku dirucat, ngagem busånå iki. Yèn jeneng kitå wis ngagem busånå iki, ngalakoni nisthå utåmå

Pathet sanga and devotion to Arjuna and thus can prevent his death. Thou wilt become a dancer of lènggèr and search for the land of Jongparang. These clothes are to be worn. I return now to the abode of the gods.14

818

285

dåyå-dåyå bekti lawan kewajiban kitå yåiku Harjunå mbok nganti tumekaning palastrå. Sirå pådhå mbarangå lenggèr, nggolèkå Negårå Jongparang. Iki diagem, ulun arså kondur ngahyangan [kahyangan/ kayangan].

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] SRIKANDHI: Heavens, heavens, Nala Garèng, Pétruk, Bawor, have you heard?

819

PETRUK: Ha-indeed I have, Princess.

820

BAWOR: I also heard.

821

SRIKANDHI: Look at these clothes I’ve been given. I am to exchange my clothes for these. And when I’ve changed to these clothese, I am to become a street dancer and search for the kingdom of Jongparang. Is this my sacrifice to prevent the Prince’s death, Pétruk?

822

14

Tobat, tobat. Nålå Garèng, Pétruk, Bawor, kowé mireng ora? Ha-inggih, mireng, Dèn. Kula inggih mireng. Iki aku diparingi busånå. Busånå sing ndak agem iki supåyå dirucat, aku genti busånå iki. Ning yèn wis aku ngagem busånå iki, aku supåyå mbarang ronggèng nggolèk Negårå Jongparang. Iku minångkå srånå Njeng Pengèran åjå nganti tumekèng [tumeka ing] palastrå, Pétruk.

The tradition mentioned here, and included the title of this story, is known as lènggèr in Banyumas. The term refers to a village performance tradition that features one or more itinerant dancing-singing girls along with at least one clown character (performed by a male) accompanied by an ensemble of bamboo xylophones collectively called calung. Until recently, lènggèr was considered extremely vulgar, and the girls often suspected of prostitution and general promiscuity. Lately, however, lènggèr has risen in status and is now viewed as the exemplary music-dance tradition of Banyumas. Performances of lènggèr are far more restrained than they were even a generation ago, but they are still noisy, sometimes bawdy and rowdy spectacles. Men are no longer invited by the dancers to join them on stage in tayuban (social dance) fashion, nor is alcohol served (at least not openly) to invited guests as it once was. The significance of Srikandhi, a major character of the Hindu-Javanese epic Mahabharata, becoming a lènggèr dancer is clearly not lost on Banyumas audiences and they are fully aware of the tradition’s association with prostitution. Srikandhi’s remarks (item 822) that she is sacrificing herself to save her husband emphasize the implications of her task.

Act 2

286 BAWOR: According to the words of Kanéka Putra, if you become a street dancer, indeed it is. Now, what kind of music will you have for accompaniment?

823

PETRUK: That’s easy, Brother. I’ll play kendhang using my voice. You’ll play gong with your voice, Bawor. And Garèng will play saron with his voice. It’s easy, isn’t it, Brother?15

824

BAWOR: If that’s the way, it’s all taken care of, ya.

825

PETRUK: If you please, Princess. I beg you to quickly change your clothes.

826

Lha, annger Ajeng mbarang ronggèng anut kalih pangandikané Kanéka Putra, inggih, lha niki sing Ajeng nggé [nganggé] tabuhan napa?

Gampang, Kang. Aku tak ngendhang ning nganggo lambé, Kang Bawor ngegong nganggo lambé, Kang Garèng nyaron ugå nganggo lambé. Gampang kok, Kang! Angger kåyå guwi [kuwi] yå, wis mångså bodhoå, iyå. Månggå, Dèn. Kulå aturi ngrucat busånå punikå. Busånå punikå énggal dipun agem, Dèn.

[Srepegan in Solonese style laras sléndro pathet sanga] SRIKANDHI: Yes-yes, Pétruk. I’ll obey, Pétruk.

827

Iyå-iyå, Pétruk. Manut aku, Pétruk.

[Suwuk] SRIKANDHI: Nala Garèng, Pétruk, Bawor. Well, here I am. How do I look, Pétruk?

828

PETRUK: Wah, well indeed, fine.

829

BAWOR: Oh, lah. You no longer look like

830

15

Nålå Garèng, Pétruk, Bawor, lha njur aku kåyå ngéné iki. Kepriyé, Pétruk? Wah, lha-inggih, sampun. O, lah. Mboten kados Ndårå Wårå

Sugino is alluding to the unique Banyumas tradition known as wayang jemblung, or dhalang jemblung, or simply, jemblung. Though it often parodies wayang kulit, dhalang jemblung contains serious drama and draws its stories from wayang kulit aa well as wayang golèk (three-dimensional puppet theater). However, dhalang jemblung uses no puppets and no gamelan instruments. Instead, the players (three or more men and one woman) act out stories while sitting around a table, providing their own musical accompaniment by vocally imitating various instrumental and vocal parts of the Javanese gamelan. They are, therefore, both a theatrical troupe as well as a musical ensemble made up solely of voices. For more on this tradition see Lysloff (1990a).

Pathet sanga Srikandhi. Pardon me for saying so, but you look lovelier than ever.16

Srikandhi, ning nuwun sèwu ayunipun minggah.

SRIKANDHI: So, Bawor, now what? The ancient one, Kanéka Putra, said that this deceit is to be my sacrifice to loyalty and devotion, Pétruk.

831

PETRUK: Indeed. If you please, I’ll become your drummer, Bawor your gong player, and Garèng your saron player.

832

SRIKANDHI: Well, what song shall it be, what riddles, and what rhymes, Pétruk?

833

PETRUK: Just do anything nice.

834

GARENG: Move aside! I’ll be the dancer’s manager.

835

BAWOR: Hey, what d’you think you’re doin’?

836

GARENG: Just be quiet!

837

PETRUK: What’s the song, Brother?

838

GARENG: A delightful song, “Éling-éling” in Banyumas trance-dance style.

839

BAWOR: How does it go, hey? GARENG: Listen, Thong! [singing] Na na ni-ni-ni né-né 16

287

840 841

Kåyå ngono, Bawor, sepuluh-puluh. Sabdané Hiwang Pukulun Kanéka Putrå nisthå utåmå kanggo srånå aku bekti lawan kewajiban, Pétruk. Nggih, pun månggå, kulå dados pengendhangipun, Kang Bawor dados Pengegongipun, Kang Garèng dados penyaronipun. Yèn kåyå ngono laguné åpå, wangsalané åpå, parikané åpå, Truk? Ingkang sekéca mawon. Ngalih! Aku tak dadi ramané ronggèngé, éh! Arep ngapa, [si]?

[Wis], meneng waé! Laguné åpå, Kang? Laguné sing kepénak, Éling-éling èbègat [èbègan], èbègan Banyumasan. O, sing kepriwé, si? Rungoknå, Thong! 6 1� 2� 2� 2� 1� 1� Na na ni-ni-ni né-né

Lènggèr dancers were, and still are, often chosen more for their good looks and graceful movements than their musical talents.

Act 2

288

na-na no-no

6 6 5 5 na-na no-no

né-né no-no no-no no-no no-no

6 6 5 5 3 3 2 2 3 3 né-né no-no no-no no-no no-no

nah-nah ning-ning

5 5 1� 1� nah-nah ning-ning

nong-nong nong-é-ning

6 6 3 6 1� nong-nong nong-é-ning

é- nong-é-nek

6 3 6 6 é- nong-é-nek

nong-é-ning é- nong-é-nek!

3 6 1� 5 3 5 5 nong-é-ning é- nong-é-nek!

PETRUK: Oh, this guy [laughing].

842

SRIKANDHI: So, how does the dance go, Nala Garèng?

843

GARENG: Just follow Kanthong’s drumming.

844

PETRUK: Done. Now I’d like you to listen to a tune I wrote, first. It’s a song called ‘Ricik-ricik’. If you please, listen.

845

Oh. Kiyé uwong [laughing]! Lha, yèn jogedé ki kepriyé, Nålå Garèng? Manut kalih Kanthong mawon. Pun. Samangké penjenengan kulå aturi mirengaken larasipun rumiyin. Kulå damelaken lagon Ricik-ricik. Månggå, kulå aturi midhangetaken, penjenengan.

[Ricik-ricik gendhing lancaran in Banyumas style]17 [laras sléndro pathet sanga] [Suwuk] SRIKANDHI: If it’s like that, Pétruk. I think I can dance to this song ‘Kricik-kricik’,18 Truk. 17

846

Yèn ngono, Pétruk, aku biså mbeksa lagu Kricik-kricik ngono kuwi, Truk.

Normally, this piece is performed in pathet manyura, but here it has been lowered one scale degree to pathet sanga to conform to the second act of the performance. Interestingly, this performance of Ricik-ricik combines the more recent version by Nartosabdho, using his female vocal parts in system 5 (see my transcription in Appendix ?) up to the slower tempo level (irama dados) in system 24 where the piece continues in traditional Banyumas style. 18 Kricik-kricik, I’m told, is the more correct form of the word ricik-ricik (literally, ‘tinkling’ or ‘trickling’).

Pathet sanga BAWOR: Ha, you can do more than you think, Mistress Srikandhi.

847

GARENG: Later, when we get to the villages, I’ll be the one that handles the money, not Kanthong. O, if Kanthong does it, it’ll disappear. Later...no matter how much we get paid, he’ll only give out small change!

848

BAWOR: Kanthong, I’d be better at it, Thong! I won’t have much to do, er, if I play gong for ‘Éling-éling’.

849

SRIKANDHI: If we do ‘Éling-éling’, I can dance, Pétruk. Just follow with your drumming, okay Pétruk?

850

PETRUK: Yes, I’ll follow behind you. Please, just relax.

851

BAWOR: Watch out! Garèng, be careful, Rèng! I’m gonna fake an introduction, okay Mistress?

852

SRIKANDHI: Yes, go ahead, Bawor.

853

BAWOR: Men meditating in trance, let them all ride their hobby-horses and dance!

854

289

Ha, kathah sagedipun tinimbang mbotenipun, Ndara Wara Srikandhi. Mengkin menawi mlebet wontening pedhusunan, ingkang bagian nyepeng yatra kula, ampun Kanthong. O, angger Kanthong, ya wis brabèh [brah-brèh]. Engko [mengko] si pira-pira ya wong diwèhi rècèh tok! Kanthong, inyong sing kepénak, Tong. Inyong golé ngegongi mandan pas angger anu laguné Éling-éling. Yèn Éling-éling, aku biså njogèd, Pétruk. Kowé ngetut mburi aku lé ngendhangi, yå Truk? Inggih, kulå tak ngetut wingking penjenengan. Månggå, aso mawon. Awas! Garèng, sing ati-ati, Rèng! Kula tak méndha-méndhani mbukaki kula, Ndarané? Yå, wis rånå, Bawor. Wiras tapa utapa biar deplang numpak bégang kudha semua.

[Éling-éling gendhing lancaran in Banyumas style]19 [laras sléndro pathet sanga] 19

In addition to being a traditional Banyumas piece, it is being performed in èbèg style (èbègan). That is, it is played as if it were to accompany traditional Banyumas hobby-horse trancedance (èbèg). Sometimes, the group will also use a terompet (an oboe-like instrument with a flared bell much like a trumpet – the shape may be the reason for the name). I was told that terompet were once quite commonly used in èbèg performances although now they are rarely heard. Similar to Ricik-ricik, this piece is also normally performed in pathet manyura but has been low-

Act 2

290

[Suwuk] SRIKANDHI: Dear, oh dear, oh dear!

855

Tobat, tobat, tobat.

[Embèl-èmbèl]20 856

SRIKANDHI: Nala Garèng, when I dance to this piece, my heart breaks, Nala Garèng, and my tears flow. But, I must carry out this dancing, Nala Garèng, Pétruk, Bawor. No matter what, we’ve got to save the Prince from disaster, Pétruk.

Nålå Garèng, aku lé mbekså ki sinambi nlångså, Nålå Garèng, nganti luh duléwéran [dléwéran]. Ngéné ki yå mekså kudu dilakoni, Nålå Garèng, Pétruk, Bawor. Abot-aboté Njeng Pengèran, åjå nganti kabilahèn, Pétruk.

[Srepegan Tangisan in Banyumas style] [laras sléndro pathet sanga] PETRUK: Please, I’m at your service.

857

Månggå, kulå dhèrèkaken, Dèn.

[Suwuk] DHALANG: Thus, Lady Srikandhi dressed herself as a dancing girl. Accompanied by the clown servants, Semar, Pétruk, Nala Garèng, and Bawor, she left the thick forest, and travelled from village to village as a street dancer.

858

Hush, for now begins the telling of the same stage but a different setting, and the story continues with another piece of the same plot. Where did this take place? It

859

Lha ing kånå tå wau, Kesumå [kusumå] Déwi [dèwi] Wårå Srikandhi ingang [ingkang] sampun ngagem busånå lènggèr dèniring dèning panakawan Ki Lurah, Pétruk, Nålå Garèng, miwah Bawor. Mijil saking tepining wånå greng bebondhetan anjog ing dhusun ngå dhusun kanthi lampah mbarang ronggèng. Sinigeg ingkang murwèning kåndhå nunggil panggung sanès panggènan. Kinaryå sambeting critå, sanès gempalaning critå, nunggil bebalungané lelampahan. Ingkang

ered one scale degree here for the second act (in pathet sanga). The piece is opened by the saron, which plays an elaboration on the balungan (not played by any instrument) to the end. 20 The term embèl-embèl (literally, ‘supplement’) refers to a very brief ‘codetta’, or musical postscript, played by the saron and drum (shown in the music transcription the Appendix).

Pathet sanga

291

wonten pundi tå? Punikå ingkang wonten Kraton Ngamartå, Prabu Puntådéwå ingkang hasipat [asipat] rasekså njenggeleg sagiri-sutå gedhéné. Kraton Ngamartå yekti thukul glagah pengalang-ngalangan. Binabadan énjang, sonten thukul; binabadan sonten, énjang thukul.

was in the palace of Ngamarta and King Puntadéwa was in the form of an ogre, looming like a mountain in his enormity. The palace of Ngamarta was overgrown with jungle grass and cane. If it was cleared in the morning, by nightfall it became overgrown once again, and if it was cleared in the evening by morn it became the same.

[Kombangan dhalang] [Ayak-ayakan in Solonese style laras sléndro pathet sanga] Kendhangan : Balungan :

· ·

DHALANG :

1 É...

Balungan:

·

·

2

·

1

p p

p 1

2

1

DHALANG : Balungan

:

.

DHALANG : 1 bang Balungan

:

DHALANG : Balungan

:

3 1 tra-

1� 6 i5

DHALANG :

1 1 Tun- jung-

.

2

.

6

.

5G

5

6

5

3

5

6

1 té 6

6 rim

·

6 i-

6 6 6 rim kem- bang

6 6 bo- pong

3

5

6

3

5

6

5G

6 O...

Balungan

:

3

2

3

5

3

2

3

5

Balungan

:

1�

6

5

6

5

3

2

1G

2

1

DHALANG : Balungan

:

DHALANG :

2

3 [1]

2

1

2

1 É... 3

Act 2

292

DHALANG: É... crimson blossoms of the red lotus... ...the irim-irim lotus and bakung flower... O... É...

[Sirep] PUNTADEWA: É-é-é-é-éh, uh-uh-uh-u-u-u-uh! O, King of Ndwarawati, have the Pandhawas met their end in suffer ing like this, Brother King? Uh-uhu-u-uh. My brother, Wrekudara has become a diamond-eyed elephant, Nakula and Sadéwa twin white forest deers, uh-uh-uh-u-u-uh. When will I be free of this divine curse, Brother King?

860

KRESNA: By the spirits of the earth, my young king, my brother. As the wisemen say: patience is prosperity. This matter concerns not only the divine curse you and your brothers suffer, my king.

861

PUNTADEWA: Uh-uh-u-u-uh. What news of my brother Janaka who suffers illness, brother King?

862

Éh-éh-éh-éh-éh, uh-uh-uh-u-u-u-uh! Ooooh, Kåkå Prabu Ndwarawati... Paran tundhoné lelampahning [lelampahing] para kadang Pendåwå ingkang sami nandhang mekaten punikå, Kåkå Prabu, uh-uh-u-uuh. Kadang kulå Werkudårå dados dwipånggå sétå ingkang nétrå kumålå, Nakulå-Sadéwå dados kancil pethak kembar kekalih, uh-uh-uh-uu-uh. Båyå kapan anggèn kulå udhar uwal saking bebundening [bebenduning] jawåtå, Kåkå Prabu? Hyang Sukmå mustikaning jagad, Yayi Sinuwun, Yayi. Pangandikanipun pårå winasis: sabar, punikå badhé subur. Milåmilå dèrèng paripurnå, Padukå Yayi sakandang hanggènipun nylirani benduning jawåtå, Yayi. Uh-uh-u-u-uh. Kadang kulå Janåkå anggènipun nandhang sakit pawartosipun kados pundi, Kåkå Prabu?

[Udhar] KRESNA: Later, my king, later. Heed my words and bathe yourself with the cool waters of patience.

863

PUNTADEWA: É-é-é-é-éh.

864

Mangké-mangké. Yayi Sinuwun. Ulaping kerså kulå aturi nyiram måwå tirtå kesabaran. Éh-éh-éh-éh-éh.

Pathet sanga

293

[Kombangan dhalang] Balungan

:

3

2

1

2

5

DHALANG :

6

1�

6

6̣ O...

[Suwuk] [Sulukan pathet sanga wantah laras sléndro] [Céngkok Ki Sugino Siswocarito] DHALANG : 6̣ 6̣ 6̣ 6̣ 6̣ 6̣-1 5̣6̣ Dyan sem-bah i-rèng u- lun, 2 232 3 21 1 1 1 6̣-1 1 Ka-pur- bå ri-sang mur-bèng rat, 2 2 2 35232 2 5 5 5 5 5 5 5 Sa-ha-na-ning kang ni-ko-nang sih-ing da-sih, 1�-61�6-1 2 2 2 2 2 232 16̣16̣ O... ma-wèh bu-gå sa-wè- gung, 2 2 2 2 2 5 6 1 1 2 23 1 \23\2 Ma-sih ring dla-han dyan ko-nang a-me-mu- jwèng, 2 3 32 2 2 2 2 1-2 16̣16̣ 1-6̣16̣5̣ Du-tå ning a-ra-tu tå-å- må, É... DHALANG: And then bowing to his subjects, He began his rule of the kingdom, He that was loved by all of his subjects, Gave a great feast for all, For all time so did they honor him... An ambassador of virtue... É... PUNTADEWA: Ah, ah, ah, a-a-ah. My brother, look upon my body, Lord. How can I find light in the darkness of my sorrow, Lord? As my brothers and I suffer like this, what will become of all our subjects, Lord?

865

Ah-ah-ah-a-a-ah. Kåkå Prabu, amirsani rågå kulå ingkang mekaten punikå, Kåkå Prabu. Kados pundi pepadhang kulå suwun, Kåkå Prabu. Kadang kulå tuwin kulå ingkeng nandhang mekaten punikå, mangké tundonipun kewulå [kawulå] Ngamartå sami kados pundi, Kåkå Prabu?

294

Act 2

KRESNA: By the spirits of the earth, my young king. My king, I can only keep saying to you: patience, that will later be your prosperity, ­brother. Let’s just think about it, we should consider this to be a test, my brother. Wah, but to have to go through this, my brother. Perhaps you and your brothers aren’t suffering from a simple curse of the gods, my brother.

866

PUNTADEWA: What is it that you mean, my king?

867

KRESNA: There’s something I remember which happened long ago.

868

PUNTADEWA: Indeed?

869

KRESNA: Yes, there was a young boy from Samudra Kedhasar. He claimed that he was the child of Princess Rantawati [Rekatawati], and that his grandfather was the god Rekatatama. This young boy claimed that his name was Srenggini, and insisted that Wrekudara was his father. I remember, my brother, and you also knew of it. Finally, when Srenggini was in Jodipati and Wrekudara fell ill. Wrekudara was sick because some of his clothes had disappeared. Then, my brother, I still remember it all!

870

PUNTADEWA: What is it, my King?

871

Hyang Sukmå mustikaning jagad, Yayi Sinuwun, Yayi Sinuwun. Yayi Sinuwun, wongsal-wangsul kulå naming saged matur: sabar, punikå tundhonipun ing mangké subur, Yayi. Dipun penggalihaken kémawon kapétang bab perkawis minångkå dados panggodhå, Yayi. Wah, sedåså kinapakaké, Yayi, mbok menawi Yayi Sinuwun sakadang punikå mboten nylirani bebendu peparinging jawåtå, Yayi. Pamanggihipun Kåkå Prabu, kados pundi? Kulå kéngetan duk nalikanipun wekdal ingkang sampun kawuri. Nuwun inggih! Nggih punikå nalikanipun wonten laré nè-nèman [nèm-nèman] saking Samudrå Kedhasar. Ngangken yoganipun Dèwi Råntåwati, Wayahipun Sang Hyang Rekåtåtåmå. Nalikå samanten, laré nè-nèman ingkang ngangken jeneng Radèn Srenggini punikå, sanget-sanget anggènipun ngangken sudarma kaliyan kadang kulå, Dhi Mas Werkudårå. Kulå énget, Yayi Sinuwun. Nalikå samanten Padukå Yayi ugi nguningani. Dumuginipun Srengini wonten ing Jodipati, keleres kadang kulå, Werkudårå, nandhang sakit. Sakitipun Werkudårå amargi agemanipun sami murcå. Nalikå samanten, Yayi, kulå tansah énget kémawon! Ingkang kados pundi, Kåkå Prabu?

Pathet sanga KRESNA: The boy, Wisageni [Wisanggeni], gave Srenggini the task of finding the clothes of Wrekudara. Srenggini was promised that if he found them and they could cure Wrekudara, then he would be acknowledged as Wrekudara’s son. With great difficulty and, as they say, by sweating blood, Srenggini found the clothes of Wrekudara.

872

PUNTADEWA: Yes, and then?

873

KRESNA: After the clothes were returned and worn by Wrekudara, he recovered. Then Priest Durna arrived and filled Wrekudara with lies and convinced him not accept Srenggini as a son. What’s more, Srenggini was to be beaten, to death if need be. Those were the wishes of Priest Durna. A fearless character like Wrekudara, compelled to obey every word and carry out every wish of Priest Durna. Finally, Srenggini was beaten half to death by Wrekudara. He then vanished from Jodipati to return to his place of origin. The boy from Samudra Kedhasar did not make false.21

874

PUNTADEWA: Éh-éh-éh-éh-éh-éh-éh.

875

21

295

Kang putra, pun Wisageni, ingkang nyukani pakarti kalihan pun Srenggini kanthi dipun janji menawi Srenggini saged ngupadi agemanipun Rayi Padukå pun Werkudårå, saged pinanggih ndadosaken srånå waluyå jati sarasipun Werkudårå. Srenggini yektos badhé kaangken [kangken] putrå dèning Dhi Mas Werkudårå. Kanthi rekaos, bebasan mijil ringet [kringet] ludirå, Srenggini anggènanipun ngupadi agemanipun Dhi Mas Werkudårå. Nalikå samanten, nuwun inggih! Sasampunipun saged pinanggih, busånå dipun agem dèning Dhi Mas Werkudårå dados srånå sarasipun. Nalikå samanten, dumugyå rawuhipun Paman Pendhitå Durnå. Paman Pendhitå Durnå maringi bebujuk dhumateng kadang kulå Werkudårå. Srenggini mboten kénging kaangken putrå, lha punikå. Mandar kapurih dipun perwåså saged ugi kadamel sirnå, sanget dados kersanipun Paman Pendhitå. Ing Mangka watak wantunipun Dhi Mas Werkudårå, sedåyå pangandikanipun Paman Durnå punikå methi [mesthi] badhé dipun pundhi, badhé dipun leksanani. Temah, Srenggini kaprawåså dèning Dhi Mas Werkudårå mådyå sirnå. Piyambakipun bablas nilar Njodipati wangsul dhumateng papan panggenipun. Mboten lepat, inggih Sinuwun, nalikå semanten ngangken laré saking Samudrå Kedhasar. Éh-éh-éh-éh-éh-éh-éh.

Samudra Kedhasar is probably used here as a proper name, although it translates as ‘bottom of the ocean’.

296

Act 2

KRESNA: Not even one month has passed and Ngamarta has become what it is now, younger brother.

876

PUNTADEWA: O-o-oh, of course, my king. If it was like that, then clearly the fault lies with Wrekudara, é-é-éh. Perhaps Srenggini is truly the child of Wrekudara. He wasn’t acknowledged; instead he was beaten.

877

KRESNA: The blame lies not with Wrekudara but with Priest Durna. If Wrekudara hadn’t been given false counsel, he would not have done such a thing. Now, there you have it, my brother. Who can bear to see Wrekudara looming like that, being able to hear and understand yet not able to speak himself.

878

WREKUDARA: Hemmmmmm...

879

NAKULA/SADEWA: Whiiit-whiiit, whiiit-whiiit-whiiit, whiiit-whiiit...

880

KRESNA: Now, that was Nakula and Sadéwa who have changed into a pair of identical forest deers, and young Wrekudara who can only trumpet continuously.

881

PUNTADEWA: É-é-é-éh. Although they are like that, my king, none suffer in bodily senses. Yet my brother Arjuna, whose body is whole and human,

882

Mboten gantos sasi, lajeng Ngamartå wonten kedadosan ingkang mekaten punikå, Yayi. Ooooh, inggih Kåkå Prabu. Menawi mekaten cethå lepatipun kadang kulå Werkudårå, é-éh. Mbok menawi Srenggini punikå yektos titisipun kadang kulå Werkudårå. Mboten dipun angken yugå, mandar kaprawåså. Mboten lepatipun Dhi Mas Werkudårå. Punikå lepatipun Paman Pendhitå Durnå. Menawi Werkudårå mboten dipun sukani bebujuk, mboten kelampah. Lha punikå, lajeng wonten kedadosan mekaten, Yayi. Sinten ingkang mentålå nyawang kadang kulå Werkudårå ingkang ngrenggunuk semanten agengipun. Mirengaken pangandikå ngertos tuwin mireng nanging badhé ngucap mboten saged. Hemmmmmmmmmm... Whiiiit-whiiit! Whiiit-whiiit-whiiit! Whiiit-whiiit! Lha punikå Nakulå-Sadéwå ingkeng rupi kancil kembar kalih, Dhi Mas Werkudårå ingkang tansah aming ngemprat-ngemprèt suwantenipun.

Éh-éh-éh-éh. Senajan mekaten, Kåkå Prabu, mboten nandhang raosing rågå, nanging menawi kadang kulå Arjunå ingkang wetah raganipun

Pathet sanga

297

kadyå menungså, hananging [ananging] nandhang sakiting rågå, Kåkå Prabu. Punåpå kepareng kulå badhé aniti, anguningani kadang kulå Arjunå anggènipun nandhang sakit, Kåkå Prabu?

suffers corporal illness, my king. Give me leave to seek news of my brother Arjuna who suffers from illness, my king.

SEMAR: Wait a moment, your servant, Badranaya, has arrived, my lords.

883

Mangké rumiyin, ingkang abdi kulå Bådrånåyå sowan, Sinuwun.

[Srepegan in Solonese style laras sléndro pathet sanga] SEMAR: My oh my oh my, a little pinch and lot of grumble.22

884

Lahé-lahé, sadulitå humel-humel.

[Suwuk] PUNTADEWA: Éh, éh, éh, éh, é-é-é-éh-uh-uh-uhuh-uuh! Ooooh, Brother Semar. Why do you ascend to the palace of Ngamarta so hastily, Brother Semar? Oooh, how is my brother, Permadi-Janaka, in his illness, Semar my brother?

885

KRESNA: Brother Semar, speak quickly. You appear to have urgent news, Brother Semar.

886

SEMAR: Ha-indeed, allow me to interrupt briefly and speak. Your servant, Badranaya, is burdened with a thousand sins and begs for an ocean of pardons to report a disaster, a grave tragedy, huh-huh-huhhuh-huh...23

887

PUNTADEWA: What is it, Brother Semar?

888

22 23

My translation of Semar’s characteristic phrase. Semar is crying at this point.

Éh-éh-éh-éh-é-é-éh, uh-uh-uh-uuuuh! Ooooh, Kakang Semar? Gitå-gitå pisowané munggahing Kraton Ngamartå, Kakang Semar? Ooooh, Permadi-Janåkå, kadangku kepriyé lé nandhang gerah, Semar Kadangku?

Kakang Nayantåkå, énggal matur. Ing semu ånå wigati, Kakang Semar.

Ha-inggih, kepareng kulå njug semelå atur, sèwu lepat ingkeng abdi kulå Bådrånåyå. Ndhèrèk nyuwun genging samudrå pangaksami, ngaturaken kabilahèn, ngaturaken katiwasan, huh-huh-huh-huh-huh...

Ånå åpå, Kakang Semar?

Act 2

298 KRESNA: What has happened, Brother Semar?

889

SEMAR: Who would have thought, who would have guessed it, that a sick man would be coveted? My master Janaka has been carried off by a thief in the form of an ogre, my lords.

890

Lho, ånå åpå tå, Kakang Semar?

Mboten nyånå, mboten nggligå. Kadaran tiyang sakit mawon, ko [kok] dèmèliki [dènmèliki]. Huhhuh-huh-huh-huh, ndårå kulå Janåkå kebektå dèning pandung arupi denåwå, Sinuwun.

[weeping]

[Sampak in Solonese style laras sléndro pathet sanga] PUNTADEWA: Oooh!

891

Oooh!

[Suwuk] [Sulukan ada-ada laras sléndro pathet sanga] [Céngkok Ki Sugino Siswocarito] DHALANG : 6 6 6 6 6 6 6 Can-cut gu-mre-gut man-jing, 2 5 5 5 5 5 1� Sa-mu-drå tul-yå dreng, O... 5 6 1 1 1 1 1 1 1 1 1 1 1 1 1 Wi-rå-ga-nyå le-gå-wå ba-nyu su-mam-put-ing wen-tis, 2 2 2 2 2 2321 6̣ 1 Mi-geg-ing ang-ga-ni- rå, É... DHALANG: Vigorously tucking up his waistcloth he entered, The clean and pure ocean, His movements stately while water enveloped his thighs, And caressed his body... É... PUNTADEWA: What is to be done, Lord of Dwarawati? Uh-uh-uh-uh-uh. My brother Arjuna carried off by an ogre, my lord.

892

Kados pundi, Kåkå Prabu Ndwarawati? Uh-uh-uh-uh-uh. Kadang kulå Arjunå kabektå dèning denåwå, Kakang Prabu.

Pathet sanga KRESNA: Wait just a moment, younger brother, wait a moment. Brother Semar!

893

SEMAR: I am at your command, my lord King of Dwarawati.

894

KRESNA: Lo! Where is this ogre from? Were you able to learn his name and kingdom?

895

SEMAR: I have heard whispers from those who reported that the ogre is named Tenung Turanggadhèsthi from the kingdom of Jongparang. My master Janaka has been carried off, he-he-he-he-he.

896

299

Mangké rumiyin, Yayi Sinuwun, mangké rumiyin. Kakang Semar! Kulå nuwun dhawuh pangandikå, gusti kulå Nåtå Ndwarawati. Lho! Butå såkå ngendi, biså dingertèni jeneng lan negarané?

Rawat-rawat kulå pirengaken wonten ingkang atur palapuran. Menawi denåwå, jeneng Tenung Turånggådhèsthi saking Negari Jongparang. Ndårå kulå Janåkå dipun bektå, huh-huh-huh-huh-huh!

[weeping] 897

PUNTADEWA: Lord King of Ndwarawati, my brothers Wrekudara, Nakula, and Sadéwa. U-u-uh, I depart to seek the kingdom of Jongparang. I ask for your blessings, my king, oooh!

Kåkå Prabu Dwåråwati lan kadangku Werkudårå, Nakulå-Sadéwå. Uhuh-uh, tak tinggal, aku tak ngupadi Negårå Jongparang. Nyuwun pangèstu, Kåkå Prabu! Ooooh!

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] KRESNA: By the realm of lords and gods, and all the universe. Thus, the situation has come to this. So, Wrekudara, although you cannot speak, you can understand. Your older brother the king has left Ngamarta to seek the kingdom of Jongparang. Take Nakula and Sadéwa with you and use your nose to trail your older brother. WREKUDARA: Hemmmmm!

898

899

Jagad déwå yå bathårå yå jagad pramudhitå [pramuditå/pramunditå]. Anané njur kåyå ngéné. Wis, Dhi Mas Werkudårå senajan tå ora biså nyuwårå nanging biså ngerti marang pangandikå. Ka [kang] masmu Sinuwun nilar Pråjå Ngamartå nejå [ngejå] ngupadi Negårå Jongparang. Nakulå-Sedewa kuwelånå lawan tlalému tututi kadangmu. Hemmmmmmmm!

Act 2

300

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] SEMAR: My oh my oh my, a tiny pinch and a lot of grumbling, é-é-éh. And what about us, my lord king of Dwarawati?

900

KRESNA: Listen to me, Brother Semar. Let’s not lose sight of caution, Brother Semar. I must follow the king as he flies through the sky.

901

Lahé...lahé, sadulitå humel-humel, éé-éh. Lha, niki lajeng kulå sami kados pundi, gusti kulå Nåtå Ndwarawati?

Wis ngéné, Kakang Semar. Aja pådhå ninggal kaprayitnan. Ugå, Kakang Semar, tak butuhaké mélu. Aku tak nututi tindaké Yayi Sinuwun ingkang napaking dirgantårå.

[Srepegan in Solonese style laras sléndro pathet sanga] SEMAR: Ha-indeed. If you please, I am at your service, my lord King of Ndwarawati.

902

PUNTADEWA: Éh-éh-éh-éh-é-é-éh! Ooooh!

903

Ha-inggih. Månggå, kulå dhèrèkaken gusti kulå Nåtå Ndwarawati.

Éh-éh-éh-éh-é-é-éh! Ooooh!

[Suwuk] [Sulukan ada-ada laras sléndro pathet sanga] [Céngkok Ki Sugino Siswocarito] DHALANG : 6 6 6 6 6 6 6 6 Ka-dang mu wa-ran dèn be-cik, 2 3 5 5 5 5 5 5 1� Mbé-suk a-men-dhe-ma ba-ris, O... 1 1 1 1 1 1 1 1 Pra-yit-nå a-ywå sa-rån-tå, 2 2 2 2 2 2 2 2 2 3 Wong ing Dwå-rå-wa-ti ti-mun-pes-an, 2 1 6̣ 6̣ 6̣ 6̣ 6̣ 1 I- ku a-wak Pan-dhå-wå, É... DHALANG: Your brothers were well advised,

Pathet sanga

301

Tomorrow to march secretly, Take care not to lag, Lest the people of Dwarawati be destroyed, That one is a Pandhawa... É... 904

PUNTADEWA: Éh-éh-éh-éh-é-é-éh! Ooooh! My brother Arjuna, you unfortunate one, carried off to the land of Jongparang, what will become of you, my brother? U-u-u-u-uh. I won’t return to the palace of Ngamarta until I have found you, my brother. Ooooh!

Éh-éh-éh-é-é-éh! Ooooh! Kadang Arjunå cilåkå kowé digåwå marèng [marang] Negårå Jongparang, kowé arep dikapakaké, Dhi? Uh-uh-uhuh-uh. Aku durung bakal bali ing Kraton Ngamartå yèn kadangku durung pinanggih. Ooooh!

[Sampak in Solonese style laras sléndro pathet sanga] WREKUDARA: Hemmmmm, hemmmmmm, hemmmmm!

905

Hemmmmm...hemmmmm... hemmmmm!

[Suwuk] KRESNA: By the spirits of the earth. Wéh, the young king is flies through the clouds and scatters them. What, what? Why, who is that inside that storm cloud? Why, he’s in there like a little bird inside its nest...oh! Why, it’s Gatotkaca!

906

Hyang Sukmå mustikaning jagad. Wéh lha Yayi Sinuwun napaking dirgantårå nyampar mendung mawut buyar pådhå sanalikå. Lholho, lha iki sing anang [ånå ing] sajroning mégå malang ki såpå? Lho, kok kukilå sajroning susuh – oh! Lho, kok Gatotkåcå!

[Sampak in Solonese style laras sléndro pathet sanga] [Suwuk] KRESNA: Young Prince?

907

GATOTKACA: At you command, Uncle.

908

KRESNA: Well! What were you doing there like a bird in its nest?

909

Kaki Prabu? Nuwun dhawuh pangandikå, Wå [uwå] Prabu. Eloh. Lho, kok kåyå manuk nèng sajroning susuh?

302

Act 2

GATOTKACA: Adhuh, Uncle... Lord, it was a disaster. You ordered me to seek Srenggini and I hadn’t found him. But, finally, I came upon the ogre, Tenung Turanggadhèsthi, who intended to do evil to Prince Arjuna.

910

KRESNA: O-o-o-o-o. Lah, and then what happened? Why, you seem to have been held captive by a thunder cloud, unable to move, unable to break free from it.

911

GATOTKACA: Indeed. That ogre was one of a kind, Uncle. I was blown away, up into the sky, eventually trapped within the storm cloud, and all my strength gone. Wah, only when you touched me did I return to normal.

912

KRESNA: You aren’t injured in any way?

913

GATOTKACA: No, Uncle.

914

KRESNA: Well, that ogre is indeed one of a kind. It’s clear he’s from...

915

GATOTKACA: ...Jongparang, Uncle.24

916

KRESNA: As it happens, your uncle King Puntadéwa just flew off.

917

GATOTKACA: O, lah-indeed. Now what, Uncle?

918

KRESNA: Let us follow him, my child!

919

24

Adhuh, Wå...Prabu, kabilahèn. Ingkang sewau kulå dipun utus Uwå kinèn ngupadi Srenggini, dèrèng pinanggih. Nanging wusånå kulå pinanggih kaliyan denåwå Tenung Turånggådhèsthi ingkeng badhé damel cintrakaning Kanjeng Paman Pengèran. O-o-o-o-o... Lha, njur kepriyé? Lho, kok kinuwel dèning mégå ora biså mobah, ora biså uwal såkå ing mégå malang kuwi mau?

Nuwun inggih. Rasekså mboten sabaénipun, Wå. Kulå dipun gebah ing wusånå ndedel ing ngawiyat kulå kumangsang wonten ing mégå malang kados mboten ndarbé bebayu. Wah, lha punikå sinampar dèning Wå Bethårå [bathårå] nembé kulå wangsul kaduk inguni. Wis ora nduwé råså åpå-åpå? Mboten, Wå. Welah, iki ora baéné tenanan butané, dadi cethå såkå... ...Jongparang, Wå. Kebeneran, kaé Wakmu [wamu/ uwamu] Prabu Puntådéwå mau ingkang napaking dirgantårå. O lha-inggih. Lajeng kados pundi, Wå? Tututånå, Kulup Kaki Prabu!

Here is an example of Sugino’s skill at creating the illusion of two characters speaking and one interrupting the other.

Pathet sanga

303

[Sampak in Solonese style laras sléndro pathet sanga] GATOTKACA: As you wish.

920

Sumånggå.

[Suwuk] GARENG: Stop, stop, stop!

921

SRIKANDHI: Okay, Nala Garèng, Pétruk, Bawor.

922

BAWOR: This way, that way, stop. Have we made much money yet?

923

GARENG: Ya, not bad. But Kanthong is pocketing some of it for himself. He doesn’t keep track of how much he takes – even before the performance is over. And when we want our money, he can’t remember.25

924

PETRUK: Heh, [laughing] so wha’d’ya want?

925

GARENG: Well, it sure is strange the way the money is divided up by the boss.

926

BAWOR: This is what I say to this fee business: every time we get our fee, let me hold on to it. And we’ll divide it up whenever.

927

GARENG: Oh...that’d be just great!

928

SRIKANDHI: Enough, Nala Garèng, Pétruk, Bawor. We’ve arrived in Jongparang City and by walking we can enter the palace of

929

25

Kéndel-kéndel-kéndel! Iyå, Nålå Garèng, Pétruk, Bawor. Ha, bolak-balik, mandheg. Wis oléh akèh duwité? Yå, wis lumayan. Lha niki dijukut neng Kanthong bé [baé] pirangpirang. Kanthong angger njukuti duwit ora nganggo étungan tuli...é [kiyé] golé barang wis arep rampung. Sing padha rumasa [rumangsa] diutang, diémut-émut. Héh, [laughing] karepmu kepriyé? Yå, dipotong neng bossé ko [kok] anèh temen! Ké [kiyé] ujarku tekadé utang, utang anu nyong [inyong] arep mélu ngekol ikih maning terus. Golé motong ya kapan-kapan. O...bungah temen si! Wis, Nålå Garèng, Pétruk, Bawor. Iki wis ngancik nèng Kuthå Jongparang, pådhå lumaku biså lumebu neng purining Kraton Jongparang. Jaré ånå

This is an inside joke referring to disputes over pay among the musicians. One of them, who sometimes handles the payroll, was suspected of skimming a bit off the top.

Act 2

304

sing kåndhå Tenung Turånggådhèsthi wis tekaning Kraton Jongparang. Yèn nganti nyåtå tinigas janggané, kepriyé Pétruk?

Jongparang. They say that Tenung Turanggadhèsthi has arrived at the palace. What am I to do if [Arjuna’s] throat is already cut, Pétruk?

[Srepegan in Solonese style laras sléndro pathet sanga] [Suwuk] DURNA: Bujug, Prince Jatikusuma!

930

JATIKUSUMA: Enough, just be quiet, Priest Durna. I think that I need an explanation from you.

931

DURNA: Yes?

932

JATIKUSUMA: Have you eaten?

933

DURNA: I have.

934

JATIKUSUMA: Have you?

935

DURNA: I have, but it was grass and leaves.

936

JATIKUSUMA: That’s horse fodder, as it should have been. So, Priest Durna, what is the matter?

937

DURNA: Lah, I’ve been treated cruelly. I beg you to return me to Ngastina, or else you will suffer divine retribution.

938

JATIKUSUMA: Eh, divine retribution. That’s right, you can bring about divine retribu

939

Bujuuuug, Radèn Jatikesumå [Jatikusumå]. Wis meneng waé, Paman Pendhitå Durnå. Ndak timbali aku perlu bakal miterang karo Pendhitå Durnå. Lah? Wis dhahar tå? Sampun. Wis dhahar? Sampun, nanging nggih suket kalih rèndèng. Iku rak pakananing kudhå, wis bener. Lha, njur karepé kepriyé, Pendhitå Durnå? Lha, kulå nyuwun dipun wangsulaken kémawon dhateng Ngastinå. Kulå sampun dipun siå-siå mindhak. Ingkang nyiå-nyiå dhateng kulå, mangké kewalat. É...kewalat, iyå. Biså malati yèn pendhitå bener. Ånå pangandikå

Pathet sanga wika-wiku sabdå pendhitå ratu, pendhitå yèn ngendikå ki...

tion if you’re a true priest. There’s a saying of the wise that the words of a priest like those of a king, that if a priest speaks... DURNA: Yes, it must be truth.

940

JATIKUSUMA: Correct! And if it were not truth?

941

DURNA: There are no priests who do not speak the truth. If he says red than it is red, if he says white then it is white.

942

JATIKUSUMA: Correct! Now, I want an explanation, Durna.

943

DURNA: What is it, Prince Jatikusuma?

944

JATIKUSUMA: Now, if you don’t answer truthfully, I’ll use this stick on you.

945

DURNA: Hah?! What do you want of me, Prince?

946

JATIKUSUMA: A long time ago news came to Jongparang that the five Pandhawas arrived at the palace of Ngastina and demanded the kingdom of Ngastina. Is this indeed true?26

947

DURNA: Yes, it happened, yes.

948

JATIKUSUMA: Now, the kingdom of Ngastina actually belongs to the Pandhawas, does it not?

949

26

305

Inggih, kedah leres. Bener! Yèn ora bener? Mboten wonten pendhitå ingkang ngendikå mboten leres. Menawi nyuwårå abrit nggih abrit, menawi pethak nggih pethak. Bener! Lé iki aku ndak miterang. Durnå. Kados pundi, Radèn Jatikesumå? Yèn lé mangsuli ora bener, tak sabet – aku wis ngastå gitik. Hah? Kados pundi, Radèn?

Nalikå mbiyèn ånå wertå [wartå] tekan ing Jongparang kéné. Pendhåwå limå pådhå sowan ing Kraton Ngastinå, nyuwun Negårå Ngastinå. Åpå kuwi mulå bener?

Inggih. Jaman semanten naté, inggih. Lha, njur sejatiné Negårå Ngastinå ki nduwèké wong Pendhåwå tå?

The reference here is to a passage in the Mahabharata.

306

Act 2

DURNA: Yes.

950

JATIKUSUMA: When Puntadéwa demanded it, was it surrendered to him or not?

951

DURNA: No.

952

JATIKUSUMA: Now, but then news arrived here that, after being refused the kingdom, the Pandhawas were even poisoned while they were at the palace of Ngastina. Is this true or not?27

953

DURNA: Yes...

954

JATIKUSUMA: Who was it that poisoned them?

955

DURNA: I don’t know – laaaah! Enough... enough... enough – alaaaah!! Enough... enough... enough...28

956

JATIKUSUMA: What, you don’t know?

957

DURNA: Yes, I know.

958

JATIKUSUMA: Who was it that poisoned them?

959

DURNA: Durna.

960

JATIKUSUMA: Who?

961

DURNA: Me...

962

27

Inggih... Dipasrahaké åpå ora, sawise dipundhut dèning Prabu Puntådéwå? Mboten... Lha, njur kok ånå wertå tekan ing kéné. Wis negårå ora diparingaké, malah Pendhåwå limå anèng Kraton Ngastinå diracun. Bener åpå ora?

Inggih... Sing ngracun, såpå? Mboten ngertos – laaaah! Sampun... sampun... sampun – alaaaah!! Sampun... sampun... sampun... Lho, kok ora ngerti? Inggih, ngertos. Såpå sing ngracun? Dronå [Durnå]. Såpå? Kulå...

This is a reference to another story, Pandhawa Racun (The Pandhawas Poisoned). Until they learned who Jatikusuma actually was later in the story, many audience members were bothered by his beating Durna whose older age requires respect despite his many misdeeds. 28

Pathet sanga JATIKUSUMA: What? A priest poisoning people who committed no wrong? Hmmm?

963

DURNA: Yes...

964

JATIKUSUMA: Was this right or not? Was it right or wrong, this deed?

965

DURNA: Yes...

966

JATIKUSUMA: Come on, right or wrong?

967

DURNA: Yaaahh! Enough... enough! Yahh!! Yahh!! Yahh!! Enough... enough... enough...yes, yes, wrong, I was wrong... wrong...

968

JATIKUSUMA: Durna, Durna. What kind of priest are you? Now, I want another answer.

969

DURNA: Please, what is it? Enough, please.

970

JATIKUSUMA: Another answer. Once there was a young boy from Samudra Kedhasar known as Prince Srenggini. This Srenggini is the child of Rekatawati, grandson of Rekatatama, and now it is clear he is the son of Wrekudara.29

971

Srenggini came to Jodipati and was able to heal Wrekudara during his illness. Now, why did you mix in and forbid Wrekudara to accept Srenggini as his son? You even encouraged Wrekudara to hurt him, kill him if need be. What did you want?

972

29

307

Lho, ånå pendhitå kok ngracun wong sing ora nduwé duså [doså] perkårå? Hemm? Inggih... Bener åpå ora? Bener åpå luput, pakartimu iku? Inggih... Ayo, bener åpå luput? Yaaahh!! Sampun...sampun! Yahh!! Yahh!! Yahh!! Sampun... sampun... sampun... nggih, nggih mpun luput, kulå luput... luput... Durnå, Durnå. Pendhitå åpå kåyå ngono kuwi? Lha, njur iki wangsul ånå manèh. Kados pundi-lah? Sampun-lah. Wangsul ånå maneh. Nalikané ånå bocah nom-noman såkå Samudrå Kedhasar kang jeneng Radèn Srenggini. Srenggini ki yugané Rekåtåwati, putuné sang Hyang Rekåtåtåmå ing mångkå iki nyåtå putrané Werkudårå. Srenggini tekå anèng Jodipati, biså nyranani Werkudårå waras anggoné nandhang sakit. Lho, kok kowé mélu cawé-cawé, Srenggini ora kenå diaku putrå. Malah supåyå disesakit lan yèn perlu dipatèni. Butuhmu åpå!?

Rekatatama is one of the elder gods. Since Bimo’s father, Sang Hyang Bayu, is a descendent of Rekatatama, Bimo is therefore actually related to Rekatawati.

Act 2

308 DURNA: Now that, I didn’t know – alah-lahlah!! Lah-lah!! Lah!! Lah!! Enough! Lah! Enough! Enough, enough. I knew...I knew...I knew, heh!! I knew.

973

JATIKUSUSMA: Too much! I’d like to do that thrice again. Your actions always bring about disaster to the sons of Pandhawa.

974

DURNA: No... no.

975

JATIKUSUMA: Turanggamaya.

976

TURANGGAMAYA: At your command.

977

JATIKUSUMA: Return Priest Durna to the stables.

978

Lha niku, lha kulå mboten rumaos – alah-lah-lah!! Lah-lah!! Lah!! Lah!! Mpun! Lah!! Mpun! Mpun, mpun. Nggih, rumaos ...rumaos... rumaos, héhh! Rumaos. Kebangeten. Arep dipindhoni ping telu. Lelakonmu lé tansah gawé cintrakaning putrå-putrå Pendhå[wå].

Mboten...mboten... Turånggåmåyå. Nuwun dhawuh pangan[dikå]. Lebokaké marang gedhogan kudhå manèh, Pendhitå Durnå.

[Sampak in Solonese style laras sléndro pathet sanga] DURNA: Bujug!! Bujug!!

979

Bujug! Bujug!

[Suwuk] TURANGGAMAYA: É-é-é-é-éh. U-u-u-u-uh. I’ve already put in some horse fodder for you, Priest Durna.

980

JATIKUSUMA: May he learn his lesson. What a pity, a priest rich in mantras, supernatural powers, and magic, but he does not use his cleverness to heal, or to bring about happiness and harmony. Instead, it’s used to conceal a greedy, covetous, selfish, and common nature, a despicable and misguided character that creates hardship for others.

981

É-é-é-é-éh! U-u-u-u-uh! Sampun kulå lebetaken wonten gedhoganing kudhå, Pendhitå Durnå. Supåyå kapok. Éman-éman Pendhitå Durnå ki sugih jåyå-kawijayan, kanuragan, guna-dhèthi [gunadhèsthi], duyung kasihan. Lho, kok cuwa Pendhitå Durnå kepinterané ora nggo nyranani, ora kanggo memayu mring hayuningrat. Malah kanggo ngemuli mring hardaning angkårå murkå seneng ngåmbrååmbrå watak candhålå budi kang nasar gawé kapitunan marang liyan.

Pathet sanga TURANGGAMAYA: Indeed...ind[eed]...

982

TURANGGADHESTHI: O-o-oh! Prince Jatikusuma, it is I, Tenung Turanggadhèsthi.

983

JATIKUSUMA: Weh, Tenung Turanggadhèsthi?

984

309

Inggih...ing[ggih]... O-o-oh! Radèn Jatikesuma, kulå Tenung Turånggådhèsthi. Weh, Tenung Turånggådhèsthi?

[Srepegan in Solonese style laras sléndro pathet sanga] TURANGGADHESTHI: Indeed!

985

JATIKUSUMA: Come here.

986

Inggih! Mréné!

[Suwuk] TURANGGADHESTHI: É-é-é-é-é-éh. Uh-uh-uh-u-u-uuh, doom and damnation. Prince Jatikusuma, my lord.

987

JATIKUSUMA: Enough, no need to say anything. Were you able to abduct Janaka or not.

988

TURANGGADHESTHI: Indeed, by your blessings, Prince. I have seized Janaka, but he is suffering from an illness.

989

JATIKUSUMA: Enough, what care I about his illness? It is clear that I’ll cut off the Janaka’s head now that he is here. Come, bring Janaka. I shall prepare the blade and then slit his throat in Banowati’s presence.

990

É-é-é-é-é-éh! U-u-u-u-u-uh, wélah dalah. Radèn Jatikusuma, pepundhèn kulå Wis, ora perlu matur åpå-åpå. Janåkå biså kegåwå åpå ora?

Inggih, berkah pangèstunipun penjenengan, Radèn. Punikå Janåkå sampun kulå gondhol. Ing mångkå Janåkå saweg nandhang sakit. Wis, ora perduli sakit. Ingkang cethå Janåkå tekan ing kéné bakal ndak tigas janggané. Hayo tå, Janåkå gawanen. Aku tak mapanaké gegaman kang bakal kanggo ngethok janggané Arjunå, anèng sandhingé Banawati.

[Sampak in Solonese style laras sléndro pathet sanga] TURANGGADHESTHI: Uh, he-he-he!

991

[Suwuk]

Uh, éh-éh-éh!

act 3

Pathet manyura [Sulukan pathet manyura in Solonese style laras sléndro] [Céngkok ki Sugino Siswocarito] DHALANG :

3 3 3 3 3 3 3 3 3 Mèh ra-hi-nå su-me-bang hi-wang [hyang],



3 3 3 3 1 3 3 3 3 3 3 3 A- ru-på ka-di né-tra-ning ang-gå ra-puh,



2 2 2 23 1 2 3 Sab-da-ning ku- ki-lå, É...



6 6 6 6 6 6 6 6 2�-1�2�1� Ring ka-ni-gå-rå se-ka-thar [sakether], O...



3 3 3 212 3 212-1 Ki-ni-dung-an ing-kung,



6-12 2 2 2 2 3 212 2 3-21-21 2-16̣ Lir wu-wus-ing pi-ni pån- cå, É... O...



1 1 1 1 1 1-2 2-121 1 2-1216̣5̣-6̣5̣3̣5̣3̣ Pe-pe-tog-ing a-yam wå- nå, É...

DHALANG: It is nearly morning and the sun is tinged with red Like the eyes of the weary, The chatter of birds, É... Perched on the kanigara tree atrembling, O... Their singing melancholy, Like the lament of the tormented, E... O... The crowing of the forest rooster... É... DHALANG: Hush, as we continue this story. Where was it now? It was in the women’s quarters of the palace

992

Sinigeg ingkang murwèning kåndhå kinaryå sambeting critå ingkang wonten pundi tå?

312 Jongparang. There, Dèwi Banowati cried in her extreme sorrow.

Act 3 992

Punikå ingkang wonten jatulåyå ing Kraton Jongparang. Dèwi Banowati ingkang dahat lagyå kembeng sungkåwå.

[Singa-singa ladrang in Solonese style laras pélog pathet barang] [Gérongan céngkok Nartosabdho]1 [Sirep] BIYUNG EMBAN:2 Oh dear...oh dear. Majesty...Majesty. How many days have you been here and refused to eat, refused to drink. Have pity upon your body, Your Majesty, Queen Banowati. Please, what would you like to dine upon? Aside from that, please, I beg you to put on these clothes, Queen Kusuma Dèwi.

993

BANOWATI: Biyung, Biyung, oh Biyung. Although I haven’t been here long, you have served and waited upon me faithfully. It seems that you have come to grow fond of me, Biyung. But you shouldn’t bother with that, Biyung. I have no desire to eat, and I have no desire to drink, nor to change clothes, before my young Janaka is brought to the palace of Jongparang.

994

BIYUNG EMBAN: But, should Prince Janaka be brought here and then beheaded, wouldn’t you suffer yet the greater loss of your lover, Kusuma Dèwi?

995

1

Tobles [toblas]...tobles, Gusti...Gusti. Sampun pinten dinten Padukå wonten mriki mboten kerså dhahar, mboten ngunjuk. Mesakaken sliranipun, Gusti Kusumå Dèwi Banowati. Månggå, badhé kerså mundhut dhaharan punåpå? Ngejawi saking punikå, månggå Padukå, kulå aturi santun busånå, Kusumå Dèwi. Biyung, Biyung, yå Biyung. Senajan aku durung suwé ananing [ånå ing] kéné, kowé lé nunggoni lan ngladosi aku. Ing semu kowé tresnå karo aku, Biyung. Ning sepuluh kinapakaké, yå Biyung? Aku ora kepéngin dhahar, ora kepéngin ngombé, ora kepéngin genti busånå, yèn durung kadangku anom Janåkå kegåwå nèng Kraton Jongparang.

Lha, umpami mangké Radèn Janåkå kebektå wonten ing mriki, lajeng dipun tigas jangganipun, mandar Padukå kecalan simpenan, Kusumå Dèwi.

Rasito informed me that the chorus part (gérongan) to this piece was composed by Nartosabdho. See my transcription of the gérongan for this piece in Appendix 5, p. 507. 2 The character known as Biyung Emban is a kind of stock character used in many stories. Biyung means ‘mother’ and emban ‘nursemaid’. Generally, she is an older, sometimes comic character who is found in scenes of the inner palace or women’s quarters. Here, she is serving as lady-in-waiting to Banowati and obviously has grown fond of the abducted queen.

Pathet manyura BANOWATI: I’ll possess the presence of mind to deal with that when the time comes, Biyung. Enough, just be silent, please ‘Yung. Have respect for my sadness, please Biyung?

996

313

Mengko aku rak duwé akal, Biyung. Wis, kowé meneng waé, Yå Yung? Ormatånå [hormatånå] kesusuhanku [kesusahanku], yå Biyung?

[Udhar]3 [Suwuk] [Sulukan pathet manyura ageng Banyumasan] [laras pélog pathet barang] [Céngkok Ki Sugino Siswocarito] DHALANG : 7̣ 7̣ 7̣ 7̣ 7̣ 7̣ 7̣ 2 32327̣ 5̣6̣7̣ 7̣ Wa-nu-dyå én-dah su-lis-tya-ning war- ni, 2 3 3432 2 2 2 2 2 6 7̣2 2 Wa-nu-dyå én-dah su-lis-tya-ning war-ni, 3 3 3 3 3 3 3 3 3 2-3 3 Yèn ngan-di-kå ing se-mu nggi-git la- thi, 3 5 6 6 6 6 6 6 6 7 5 3 356 6 Yèn ngan-di-kå ing se-mu ang-gi-git nggi-git la- thi, 2 3 3 3 3 3 27̣ 2 232 7̣ O... Lir-ing né-trå lir sing-a mu- lat, 3 3 324 3232 2 2 2 2 6̣7̣2 Lir-ing né- trå lir sing-a mu-lat, 2 3 3 3 27̣ Sa-so-lah-é mi 7̣ 7̣ 7̣ 7̣ An-teng tå-jem

2 232 7̣ 2-327̣6̣7̣6̣ lang-en- i, É... 7̣ 5̣6̣7̣ 6̣7̣ 7̣ 2-323 6̣5̣3̣ po-lat- an- é, É... O...

DHALANG: A lovely charming woman, A lovely charming woman, 3

At this point the piece is performed in banyakan (´swan-style´) treatment. The balungan is no longer played in a straight-forward manner; sarons play in imbal (interlocking) – the combined parts twice as fast as normal – with pitches drawn from pairs of tones of the original balungan. The slenthem plays the same melody as that created by the combined saron parts, but delayed and on the off-beat (sometimes called slenthem gandhul or ´hanging slenthem´).

Act 3

314

But when she spoke she seemed to bite her lip, But when she spoke she seemed to bite her lip, O... her eyes glowering like a watchful lioness, Her eyes glowering like a watchful lioness, Her movements all pleasing... É... Tranquil and alert was her expression, É... O... BIYUNG EMBAN: Allow me to say a few words, Queen Kusuma Dèwi.

997

BANOWATI: Yes-yes, what is it, Biyung?

998

BIYUNG EMBAN: My heart is truly saddened that you have made such a demand. He is a handsome young warrior, known throughout the land, from nation to nation. Prince Janaka is an outstanding young warrior. Men and women alike admire his handsomeness. And he even was your lover. But yet you demand that he be brought here and beheaded. How could this be?

999

BANOWATI: You don’t understand my real intentions, Biyung. I’m not ready to speak openly with you, perhaps later. You must wait. Wait, Biyung!

1000

BIYUNG EMBAN: Oh, certainly. Kusuma Dèwi, please. How many days has it been since you’ve had something to eat, or to drink? Aren’t you hungry, Kusuma Dèwi?

1001

Kepareng ngunjuk sumela atur katur Gusti Kusumå Dèwi. Iyå-yå, kepriyé Biyung? Sanget andadosaken émenging manah kulå, lha wong Padukå mundhut bebånå. Satriå bagus ingkang sampun kondhang kaonang-onang måcåpat, dhumateng negari pundi kémawon. Menawi Radèn Janåkå, punikå satriå bagus ing pinunjul. Menawi priå ngondhangaken kadigdayanipun, menawi wanita ngondhangaken bagusipun. Lho, punikå dados simpenanipun penjenengan. Lho, kok mandar dipun pundhut kapurih tinigas jangganipun? Punikå dos pundi? Kowé ora ngerti sing dadi kekarepanku sejati, Biyung. Aku durung bakal walaka karo kowé, mengko wae. Kowé ngentèni. Ngentèni, Biyung. O, inggih, Kesumå [kusumå] Dèwi, Kesumå Dèwi. Månggå, lha wong sampun pinten dinten penjenengan wonten mriki mboten kerså dhahar, mboten kerså ngunjuk. Nåpå mboten ngelih penjenengan, Kesumå Dèwi?

Pathet manyura BANOWATI: No, Biyung, no. I can’t rest until my demand has been fulfilled by your master, Prince Jatikusuma. Uh...

1002

BIYUNG EMBAN: Well, you just scowl at me and I shout in anger because, although I haven’t served you very long, I feel as if it has been decades. I’ve grown very fond of you. If eventually you return to Ngastina or wherever, I’ll go with you.

1003

BANOWATI: Eh, my thoughts have become so gloomy, Biyung. Ehh...okay, over there, Biyung. I need something to lift my spirits. What do you think, eh Biyung?

1004

BIYUNG EMBAN: If that’s what you want, please, sit down comfortably and I’ll sing quietly for you. I’ll sing Dhandhanggula Sida Asih, and then go into the children’s song, ‘Sarung Jagung’. Soon, your spirits will be lifted.

1005

BANOWATI: Yes, go ahead, Biyung. Yes.

1006

315

Ora, Biyung, Ora. Aku durung legå yèn sing panyuwunku durung disembadani dèning bendaramu, yaiku Radèn Jatikusumå. Uh... Lha, wong penjenengan lajeng mbesengut mawon kulå nggih brabèh. Amargi sinaoså dèrèng dangu kulå ngladosi penjenengan, raos kulå kados sampun windonwindon. Sanget kulå sengsem kaliyan penjenengan. Umpami kelampah mangké penjenengan kondur wonten Ngastinå nåpå kondur dhateng pundi, kulå tak dhèrèkaken mawon. Éh, Biyung, peteng kang dadi pikirku, Biyung. Éhh, yå mrono Biyung aku golèkaké pepadanging pikir. Kepriyé, yå Biyung?

Menawi mekaten, månggå, penjenengan kulå aturi lenggah ingkang sekécå, kulå rengengrengengi. Kulå badhé nyekar Dhandhanggulå Sidå Asih, mangké dhawah dhateng lagon dolanan Sarung Jagung. Mangké rak padang penjenengan penggalihpun. Yå mrono, Biyung. Isyå [iyå].

[Uran-uran Dhandhanggula Sida Asih]4 [laras pélog pathet barang] [Suwuk] BIYUNG EMBAN: Corn husks, Ladies. 4

1007

Klaras, saudhari.

Uran-uran (from the root word ura-ura ‘to sing for one’s own pleasure’) refers to unaccompanied and unmetered singing (though gendèr softly plays key pitches to assist the singer).

316

Act 3

BANOWATI: Corn husks, what do you mean by that?

1008

BIYUNG EMBAN: ‘Sarung Jagung’, Kusuma Dèwi.5

1009

Klaras, kuwi åpå?

Sarung Jagung, Kusumå Dèwi.

[Sarung Jagung gendhing dolanan laras pélog pathet barang]6 [Composed by Nartosabdho] [Suwuk] BIYUNG EMBAN: Tobil...tobil, child of the kadhal lizard and sawiyah, child of the cecak lizard, all their efforts are to make you smile.

1010

BANOWATI: Yes, that’s the way. But when the music stops, I remember what I’m undergoing, Biyung. Well, I hope that my young Arjuna is brought here and returned to health, because just before I was brought here to Jongparang, I heard news that Arjuna is very sick.

1011

BANOWATI: Tobaaat! Tobat!

1012

JATIKUSUMA: Princess Banowati, I’m back. I dare to enter the royal women’s quarters and fulfill your demand.

1013

Tobil, tobil anak kadhal, sawiyah anak cècèk, dåyå-dåyå murih penjenengan sumèh, Kusumå Dèwi.

Iyå kåyå ngono kuwi. Yèn wis suwuk yå njur pikirku éling klakon sing lagyå ndak sandhang iki, Biyung. Yå, mugå-mugå waé kadangku Arjunå kegåwå mréné dadi waluyå jatiné awit nalikané aku kegåwå marang Pråjå Jongparang kéné ing kono lagi ånå wertå kalamon kadangku Arjunå ki lagi nandhang gerah. Tobaaat! Tobat! Dhi Ajeng Banowati pun Kakang ingkang dumugi. Wani manjing mring sajroning jatulåyå bakal nyembadani kang dadi panyuwunmu.

[Srepegan Banyumasan laras pélog pathet barang] [Gérongan by Nartosabdho]

5

Sarung jagung means, literally, ‘corn husks’. The designation lelagon (‘song’) simply means that it is a recently composed vocal piece. It is in the Solonese lancaran mlaku form, sixteen beats to each gong phrase that are in turn subdivided into four kenong phrases. 6

Pathet manyura

317

[Suwuk] BANOWATI: Heavens, heavens, heavens, Prince, Prince Jatikusuma, Prince!

1014

JATIKUSUMA: Dear Banowati.

1015

BANOWATI: Now don’t you be in such a hurry to enter the royal women’s quarters and approach me when you haven’t yet fulfilled my demand.

1016

JATIKUSUMA: I dare enter the depths of the royal women’s quarters because I wanted to announce that I will fulfill your demand.

1017

BANOWATI: Eh-eh, what do you mean you’ll fulfill my demand? Speak, and don’t you joke around. How will you fulfill my demand?

1018

JATIKUSUMA: Well, Tenung Turanggadhèsthi has returned. He was able to bring Janaka.

1019

BANOWATI: Where’s Janaka? Where’s Janaka, where? Here, bring him here!

1020

Tobat, tobat, tobat, Radèn, Radèn Jatikusumå, Radèn! Dhi Ajeng Banowati. Mbok penjenengan åjå kesusu tindak mring jatulåyå mrepeki aku, yèn tå sing dadi panyuwunku durung disembadani. Lé wani manjing mring sajroning jatulåyå, amargå bakal ngendikaké bab perkårå keng dadi panyuwunmu biså kasembadan. Éh-éh, lho kok biså kasembadan? Ngendikå, åjå sapénaké. Kasembadan kepriyé?

Iyå, Tenung Turånggådhèsthi wis tumekå bali. Janåkå biså kegåwå.

Mendi [endi] Janåkå? Mendi Janåkå, mendi? Mréné, gåwå mréné Janåkå!

[Srepegan Banyumasan laras pélog pathet barang] TURANGGADHESTHI: É-é-é-é-éh.

1021

BANOWATI: Heavens! Heavens!

1022

É-é-é-é-éh! Tobaaat! Tobat!

[Suwuk] [Sulukan ada-ada manyura Banyumasan laras pélog pathet barang]

Act 3

318

DHALANG : 5 6 7 7 7 7 7 7 Bang bang wé-tan wis su-mi-rat, 3-6 6 6 6 6 767 6 Hyang ra-wi ar-så mi- jil 7 7 7 7 7 7 6 656 7 7 Mu-ngup mu-ngup ning pun-cak-ing wu-kir, Balungan

:

2

DHALANG : 3 3 3 3 3 32 3 36 3-232 Ar-så ma-dhang-i ja- gad rå- yå, Balungan

:

3

2

3

2

Balungan

:

5

3

2

3

DHALANG : 3 3 3 3 3 3 3 3 3 3 Mer-tan-dha-ni yèn wus ba- ngun é- njing Balungan

:

DHALANG :

6

5

4 3 4 2

É...

DHALANG :

3

2

3 2

6 O...

DHALANG: The reddening east is already glowing, Lord Sun is emerging, Peeking over the mountain tops, Giving light to the great earth, Signalling to those awake that it is morning, É... O... BANOWATI: Dear oh dear, my Permadi, my Permadi. But, why are you like this, my Permadi?7

1023

JATIKUSUMA: Hey, don’t get so close. Don’t get so close.

1024

BANOWATI: Why, he’s my own family. This is my own family. More than that, he’s my lover. Well, ya. What’s it to you? Stay out of this.

1025

7

Permadi is yet another name for Arjuna.

Tobat-tobat, Dhi Mas, Dhi Mas Permadi. Lho kok njur dadi kåyå ngono, kepriyé Dhi Mas Permadi? Lho, åjå nyedhak-nyedhak. Åjå nyedhak-nyedhak. Lho, iki kadangku dhéwé! Kok, iki rak kadangku dhéwé! Ngejåbå kadangku, iki rak simpenanku. Lho, kok yå! Ora lilå sabab åpå? Kowé ora

Pathet manyura This is between Permadi and me.

319

kenå cawé-cawé marang urusanku lan Permadi iki!

JATIKUSUMA: Eloh! This Permadi-Janaka was brought here by your wish, to be beheaded. You made that demand. The head of Janaka is to be separated from his body, to become a stepping stool for you when you climb into bed with me.

1026

BANOWATI: No, no, no!! Later, patience. Don’t be in such a hurry! When you cut off his head, cut mine off as well. I want to be beheaded too.

1027

JATIKUSUMA: Well, what’s got into you? What is it you want?

1028

BANOWATI: Now I have a different demand. A different demand because I committed great sins against my Janaka. I want to ask his forgiveness first. Behead him after I asked Janaka for his forgiveness.

1029

JATIKUSUMA: So, then what is it you want?

1030

BANOWATI: Although Janaka is to be beheaded, I ask that he be healed first, if you truly love me. If you can heal him, then I’ll obey you. I’ll truly obey, I’ll obey.

1031

JATIKUSUMA: What! Why, if Janaka is healed, he’ll become your lover.

1032

E-loh! Wong Permadi-Janåkå digåwå mréné ki, såkå panyuwunmu supåyå ditigas janggané. Slirå nduwèni bebånå. Sirahé Janåkå iki sing mengko, yèn dikethok pisah lawan gembungé, bakal kanggo ancik-ancik yèn kowé bakal mapan saré karo aku. Moh-moh, moh! Mengko dhisik, sabar! Åjå kesusu! Yèn dikethok janggané bareng waé karo aku. Aku yå mélu dikethok guluné. Lho, kok dadi kåyå ngono, ki kepriyé karepmu? Saiki aku nduwé panyuwun genti. Genti panyuwunku, amargo aku ki gedhé banget keluputané karo Janåkå adhiku iki. Aku ndak pasrah keluputan dhisik. Arepå dikethok janggané mengko yèn aku wis pasrah kaluputanku marang Janåkå adhiku iki. Lha, njur karepmu kepriyé? Yèn tå penjenengan ki tresnå karo aku, senajan tå Janåkå iki bakal dikethok janggané, nanging saiki aku nyuwun diwarasaké dhisik. Yèn kowé biså Janåkå waras, aku bakal manut karo penjenengan. Manut banget, aku manut. Lho! Lho, mengko yèn Janåkå waras yå, tetep dadi simpenanmu.

320

Act 3

BANOWATI: No, no, no. When Janaka is healed, and I have asked and received his forgiveness, then if you want to behead him, you may.

1033

JATIKUSUMA: So that’s it. You want him healed because you need time to ask Janaka’s forgiveness for all the sins you committed against him?

1034

BANOWATI: Yes!

1035

JATIKUSUMA: If that’s it, easy. I’ll speak to my father the king, who can surely cure him.

1036

Ora, ora, ora. Mengko yèn Janåkå wis waras, aku wis pasrah keluputanku marang Janåkå kadangku. Mengko, yèn wis ditåmpå, arep dikethok janggané, yå kenå. O, kåyå ngono. Supåyå waras sawetårå wektu perlu kowe bakal pasrah duså [doså] luputmu marang Permadi? Iyå! Yèn ngono gampil. Aku tak matur lawan Kanjeng Råmå supåyå diusadani måså ora waluyå jati.

[Srepegan Banyumasan laras pélog pathet barang] [Gérongan by Nartosabdho] [Suwuk] AJIJAYA: Well, well, well! Hua-ha-ha-hi-hihi! My son, Jatikusuma.

1037

JATIKUSUMA: At your command, your majesty my father.

1038

AJIKUSUMA: What about it? Banowati’s demand, what about it? Has it been fulfilled? Janaka has been brought here. All that’s left is to sever his neck. So, what’s this about another demand?

1039

BANOWATI: My elder king, I ask for one more stipulation. I will obey your son, Prince Jatikusuma. If you want to behead Permadi, by all means, but only after I’ve received his

1040

Uwayi-uk, uwayi-uk, uwayi-uk [wadhuh, wadhuh, wadhuh]! Huaha-ha-hi-hi-hi! Putraku Jatikusumå. Wonten dhawuh pangandikå, Kanjeng Råmå? Kepriyé? Panyuwune Banowati, kepriyé? Wis disembadani? Janåkå wis klakon kegåwå mréné. Ming kari netak janggané. Lho, kok isih nduwé panyuwun manèh.

nanging mangké menawi kulå sampun pasrah doså lepat kulå kaliyan Permadi adhi kulå. Nyuwun dipun damel saras sawetaris wekdal kémawon. Mangké menawi kulå

Pathet manyura

321

sampun pasrah doså lepat kulå, månggå dipun kethok jangganipun Janåkå. Kulå mboten badhé kécalan awit sampun pikanthuk gentos, nggih punikå keng putrå pun Jatikesumå.

forgiveness for my sins. I beg you to heal him for a short while until after I’ve received his forgiveness, then go ahead and cut the neck of Janaka. I won’t feel his loss because I will have received another, namely your son Jatikusuma. AJIJAYA: Hua-ha-ha-hi-hi-hi! What do you think, child Jatikusuma?

1041

JATIKUSUMA: Why not just heal him, Father. She won’t go back on her word. Banowati already seems to like me, she already seems to be attracted to me.

1042

AJIJAYA: So be it! This matter of healing Janaka, is simple, since I was the one who made him sick. Hua-haha-hi-hi-hi! I was the one who did it. Jatikusuma, be silent for a while, I want to ask my magical amulet, ‘gem of the floating eye’, to cure Janaka.

1043

Hua-ha-ha-hi-hi-hi! Kepriyé, Nggèr Jatikesumå? Dipun sembadani kémawon, Kanjeng Råmå. Mboten badhé mbalik tingal. Banowati sampun ketingal remen kaliyan kulå, sampun ketingal sengsem kaliyan kulå. Iyå! Perkårå Janåkå waras, kuwi såkå gampang. Dadiné Janåkå sakit sing nggawé yå aku. Hua-ha-ha-hi-hihi! Sing nggawé aku. Jatikusumå, menengå sawetårå, pun Båpå ndak mundhut jimat ampuh ‘mustikå sesocaning warih’ kenå kanggo srånå Janåkå klakon waras.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] DHALANG: It is told that King Ajijaya Diningrum had a magical charm, ‘gem of the floating eye’, that had a fragrant scent, like the flower ‘crystal star of the gods’. Thus, the life of Prince Janaka was not yet to end. Prince Janaka suffered an illness that was brought about by King Ajijaya Diningrum. Through the power of the magical floating-eye amulet, a spreading fragrance permeated the body of Arjuna, restoring his health.

1044

Kocap kacaritå Prabu Ajijåyå Diningrum kagungan wasiat ampuh ‘mustikå sesocaning warih’ ingkang måwå gåndå mangambar-ambar arum yayah gandaning sekar krepu dewa ndaru. Milå-milå Radèn Janåkå dèrèng telas tulising uripé. Radèn Janåkå nandhang gerah amargi dipun damel dèning Prabu Ajijåyå Diningrun. Måwå srånå sirah kaungkulan dining [dèning] jimat kang ampuh ‘sesocå mustikaning warih’, gåndå mangambar-ambar arum rumesep

Act 3

322

dhumateng raganipun, sang Harjunå temah dados srånå waluyå jati pådhå sanalikå.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] BANOWATI: Permadi, dear?

1045

JANAKA: My lady Banowati, I’m here.

1046

BANOWATI: Can you believe it, can you believe it. All because of my love for you, don’t try to deny it. Don’t you try to deny it. You’re healthy and I’m the sacrifice. If I hadn’t found a way, you wouldn’t be healthy! You wouldn’t be healthy! That’s why you shouldn’t try to deceive me, your elder sister.

1047

JANAKA: I’ve never been deceitful with you, my lady.

1048

BANOWATI: Oh ya? Well, who says? Last week, you said twelve o’clock at the bus station and you never came.8 So what about that? Come on, let’s go lie down. Come on, I want to go lie down. We won’t be bothered by anyone. It’s not home, so it doesn’t matter.

1049

JATIKUSUMA: Father?

1050

AJIJAYA: Hey! Now, what’s this all about?

1051

8

Dhi Mas Permadi? Kang Mbok Banowati wonten mriki. Ngandel apa ora, ngandel apa ora? Mulane, ketresnan ko karo aku, aja sok dilalèka...ké! É-éh, åjå sok dilalèkaké. Kåyå ngéné waras yå aku sing kanggo koroban [korban]. Åjå aku nggolèk dalan, yå ora waras! Ora waras! Mulané karo wong tuwå, åjå sok nglombo, kowé.

Kulå mboten naté nglombo kaliyan Kang Mbok. Jaré såpå? Jaré såpå? Jaré såpå? Nalikané minggu sing kepungkur, jaré jam rolas terminal nyatané ora tekå-tekå. Kok dadi kepriyé? Ayo tå, aturi ngaso. Ayo, tak aturi ngaso. Ora perduli såpå-såpå, dudu omahé ora dadi åpå.

Kanjeng Råmå? Lho! Lha iki njur kepriyé?

This is a transparent reference to the major bus terminal located right outside Purwokerto, locally infamous for prostitution and as a tryst for adulterers.

Pathet manyura JATIKUSUMA: Wah, what’s going on here? Princess Banowati.

1052

BANOWATI: What?

1053

JATIKUSUMA: Well, why are you being carried to and fro? Why, you’ve been such a difficult person and now your playing around!

1054

BANOWATI: Difficult, difficult, oh shut up! Shut up, ah shut up, shut up! You shut up, shut up!

1055

Oh, so you’re angry, huh? You’re angry, huh? You’re angry, huh? Then get out of here! Oh, they want cigarettes, cake, and candy. You’re sick to death of it, but always on call!9

1056

TURANGGADHESTHI: He-ha-ha-ha-ha-ha! Now, I’d figure on marrying Banowati off to Permadi, é-é-éh! My lord, I’ll stab Janaka with my magical weapon, é-é-éh! Ah...10

1057

323

Wah, lha niki kados pundi? Dhi Ajeng Banowati. Åpå? Lho, kok digåwå mrånå-mrånå, ki kepriyé? Lho, wong angèl-angèl kok nyelap-nyelap?

Angèlå, angèlå, alah brisik. Brisik, ah, brisik, brisik! Kowé brisik, brisik! O, kowé lha panas åpå? Kowé panas åpå, panas kowé? Ngalih!! O, rokok, roti, permèn, kemropok [kumropok] mati, yå mèn!

He-ha-ha-ha-ha-ha! Kiyé malah aku étung-étungané mengantènaké Banowati karo Permadi, é-é-éh! Pun kajengipun, Janåkå kulå suduké [sudukaké] kaliyan wasiat kulå, é-ééh! Ah...

[Sampak in Solonese style laras sléndro pathet manyura] TURANGGADHESTHI: É-é-éh! U-ah...

1058

É-é-éh! U-ah...

[Sounds of battle] [Suwuk] 9

Banowati’s last phrase is a humorous reference to the frustrations of women in village Java. One of the pesindhèn (female vocalists), known to be rather feisty, can be heard to pipe up here and say, ké waligan [kiyé balikan]! ‘With me, it’s the reverse!’ meaning that it is her husband who is at her beck and call. At this, Sugino can’t contain himself and laughs out loud through the ogre character, Turanggadhèsthi. 10 The ogre is apparently saying the first sentence to himself.

324

Act 3

SRIKANDHI: Pétruk?

1059

PETRUK: Your command?

1060

SRIKANDHI: We’re at the back of the palace.

1061

PETRUK: Yes, just go in. Just go in. This is the palace.

1062

GARENG: O, the guards in back thought my mistress was a street dancer.

1063

PETRUK: Ha, just be quiet, you.

1064

SRIKANDHI: Oh Pétruk, what if they’ve beheaded the Prince already?

1065

PETRUK: Terrible, aye. Let’s just hope not, let’s just hope not.

1066

SRIKANDHI: Pétruk, I can’t get in. This wall is too high.

1067

PETRUK: Wah, the wall sure is high. Come on, please, stand on my shoulders. Come on, come...

1068

SRIKANDHI: What do you mean?

1069

PETRUK: Climb up here onto my shoulders.

1070

SRIKANDHI: I’m supposed to climb onto your shoulders...

1071

PETRUK: Then I’ll hold you so that you can jump over.

1072

Pétruk? Dhawuh? Iki nèng mburi kraton. Mpun, månggå mlebet mawon. Mlebet mawon, mpun. Niki kraton, mpun. O, penjagané sing neng mburi ngertiné ndarani inyong wong barang. Ha wis meneng baé kiyé uwong. Pétruk, yèn Njeng Pengèran wis ditigas, kepriyé, yå Pétruk? Alah, nggih. Mugi-mugi mawon, mugi-mugi mawon. Pétruk, aku tak mlebu, yå Pétruk? Lha iki bètèngé kok dhuwur. Wah! Bètèngipun inggil sanget. Mpun, månggå kulå sunggi. Mpun, mpu[n]... Priyé? Mriki minggah dhateng pundhak kulå. Aku munggah neng pundhak[mu]...

Mengkin kulå ngadeg penjenengan mlempat.

Pathet manyura SRIKANDHI: Oh yes! Okay, bend over...bend over.

1073

PETRUK: Aye.

1074

SRIKANDHI: Huss! Don’t you peek up here!11

1075

PETRUK: Ho-ho [laughing]...but my eyes were closed! He-hemm!

1076

SRIKANDHI: O, how rude!

1077

PETRUK: No [laughing]. They were closed, really.

1078

SRIKANDHI: Enough, quick Pétruk.

1079

PETRUK: If you please, jump, jump! Okay, jump, please.

1080

325

Iyå! Wis ndengkelok...ndengkelok.

Nggih! Huss! Åjå ndeléng [ndeleng] ndhuwur, kowé! Ho-ho [laughing]...mripat kulå merem kok! He-hem! O, sembrånå! Mboten [laughing]. Jan merem kulå.

Wis, énggal Pétruk. Månggå-månggå, menculat, menculat! Nah, menculat, månggå.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] SRIKANDHI: Pétruk, uh! Pétruk, uh!

1081

PETRUK: What is it?

1082

SRIKANDHI: Where? I heard that the Prince was carried into the palace.

1083

PETRUK: Just be patient, patience, patience!

1084

SRIKANDHI: And if he’s already beheaded, what then, Pétruk?

1085

11

Pétruk, uh! Pétruk, uh! Pripun? Neng ngendi, yå? Jaré Njeng Pengèran wis digåwå marang kraton. Sabar mawon, sabar, sabar! Yèn mengko wis ditigas janggané, kepriyé Pétruk?

The typically lecherous Pétruk was apparently looking up Srikandhi’s skirt.

326

Act 3

PETRUK: Terrible...no he won’t be, let’s hope he won’t! No, let’s hope he won’t!

1086

BANOWATI: Now, don’t you try to deceive me. Later, when you return to Madukara, don’t take so long to come to Ngastina.12

1087

SRIKANDHI: Pétruk!

1088

PETRUK: Yes?

1089

SRIKANDHI: Why, who is that, Truk!

1090

PETRUK: Oh-oh!

1091

SRIKANDHI: Who is that, Pétruk? Why, Pétruk, that looks like the Prince. I’ve never been so shocked in all my life. Why, they’re caressing one another. This is too much, too much! O, indeed, that’s Banowati there, that’s Banowati!

1092

Alah...dèrèng-lah, mugi-mugi dèrèng! Dèrèng, mugi-mugi dèrèng! Kiyé, åjå sok nglomboni. Mengko yèn wis kondur marang Madukårå, åjå sok kesuwèn lé tindak maring Ngastinå. Pétruk! Nun? Lho, kae såpå Truk? Ut! Kaé såpå Pétruk? Lha kaé Pétruk kåyå ngono kaé Njeng Pengèran, lé trataban atiku ora lumrah mbok nganti wis sédå. Lho, kaé malah lagyå ciwit-ciwitan!! Kebangeten, kebangeten. O, bener, waé wong Kakang Mbok Banowati nang kéné!! Kakang Mbok Banowati nang kéné!!

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] SRIKANDHI: Indeed, it’s true. Indeed, indeed! Indeed, indeed! When he’s at home he just lies around, just lies around. But when he goes out of the house, he acts like that, just like that! You’ve gone too far, Banowati, to hurt me like this.

12

1093

Pantes bener waé. Pantes, pantes! Pantes, pantes! Yèn nèng ndalem nèng kasatrian lé glanthangglinthing, glanthang-glinthing. Yèn wis jengkar såkå kasatrian yå kåyå ngono, yå kåyå ngono! Kang Mbok Banowati lé kebangeten gawé sakit marang adhimu aku.

Srikandhi has climbed to the window of the very room where Banowati is seducing Janaka.

Pathet manyura BANOWATI: Now, just a moment, Srikandhi. Don’t come to the wrong conclusions, okay? If it weren’t for my being here, it wouldn’t be like this. What then? Now, your husband is healthy and you should thank me for it.

1094

DHALANG: The story now turns to Prince Jatikusuma.

1095

327

Lho, mengko tå dhisik, Srikandhi. Åjå selang surup, yå Dhi? Yèn aku ora nèng kéné, ora kåyå ngéné, kepriyé? Lha iki Ka Masmu rak wis waras, kowé kudu bungah karo aku.

Kocap kacaritå Radèn Jatikesumå.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] JATIKUSUMA: Janaka?13

1096

JANAKA: You found him.

1097

JATIKUSUMA: Don’t you get cheeky with me. Eh, so you think you can do as you please. You come here deathly ill to be healed and meet up with your lover.

1098

JANAKA: Enough of your arrogance, what do you want?

1099

JATIKUSUMA: I’ll not only surrender Banowati. If you can cut my throat, I’ll surrender my castle to you.

1100

JANAKA: I’ll break your neck.

1101

Janåkå? Ånå paran. Åjå sumentånå sumanggan gelem. Éh, lha kok ngarah kepénak waé. Sakit tekan ing kéné dadi warasé gathuk ketemu lawan simpenanmu.

Wis, rusah [ora usah] sumbar. Kersamu kepriyé? Bisa waé ora ming Banowati sing tak pasrahaké marang kowé. Kraton tak pasrahaké marang kowé yèn biså nigas janggaku. Biså klakon puthung janggamu.

[Sampak in Solonese style laras sléndro pathet manyura] [Sounds of battle] 13

Jatikusuma and Srikandhi arrived upon this scene simultaneously.

Act 3

328

[Suwuk]

JATIKUSUMA: Why, Janaka is retreating. There’s an elephant looming up ahead, thrusting his snout at me, lowering his tusks. Damnation, what palace did this elephant break out of?

1102

DHALANG: It was Prince Wrekudara in the form of an elephant. His trunk curled around the waist of Prince Jatikusuma, like thread on a spool.

1103

Elho, lha-iki Janåkå mundur. Ånå gajah njenggeleg, ngungalnå tlalèné, masang gadhingé. Wélah, iki gajah medhot såkå wanthilan kraton endi?

Yaiku Radèn Werkudårå ingkang asipat dwipånggå, tlalèné nguwel bangkekanipun Radèn Jatikusumå dènwasuh kåyå lawé.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] DHALANG: Then, the elephant with eyes of diamond once again became Prince Wrekudara. Prince Jatikusuma, as he fought with the elephant, also returned to his original form. The jewel-eyed elephant became Prince Wrekudara and Prince Jatikusuma became a female, namely Dèwi Rekatawati, Prince Wrekudara’s wife.

1104

WREKUDARA: Die, by my hand!

1105

Lahing kånå tå wau dwipånggå sétå nétrå kumålå ngedadosanipun Radèn Werkudårå. Radèn Jatikusumå tandhing kalayan dwipånggå, samisami mbabar kekalihipun. Gajah dados Radèn Werkudårå, Radèn Jatikusumå dados putri, yaiku Dèwi Rekatawati, garwanipun Werkudårå.

Mati dèning aku.

[Sampak in Solonese style laras sléndro pathet manyura] REKATAWATI: A...dhuh! Heavens, good heavens!

1106

A...dhuh! Tobat, tobat!

[Suwuk] REKATAWATI: Have you forgotten me or not? What kind of elephant are you?

1107

WREKUDARA: I haven’t forgotten.

1108

Penjenengan pangling kaliyan kulå punåpå mboten? Ånå gajah kok kåyå ngånå. Ora pangling.

Pathet manyura REKATAWATI: Who am I?

1109

WREKUDARA: Rekatawati.

1110

REKATAWATI: I am Rekatawati and I have a child called Srenggini. By whom did I have this child?

1111

WREKUDARA: By me.

1112

REKATAWATI: And why was he not accepted by you when he came to Jodipati? Why, he was even beaten half to death. How could you? How could you? How could you do that?

1113

329

Sinten kulå? Rekåtåwati. Rekåtåwati kulå ingkang gadhah yugå pun Srenggini. Srenggini punikå yuganipun kulå kaliyan sinten? Karo aku. Kenging punåpå dumugi sowan wontening Jodipati mboten dipun angken. Lho, kok mandar dipun prewasa setengah pejah. Kebangeten, kebangeten! Penjenengan kebangeten.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] WREKUDARA: Rekatawati?

1114

REKATAWATI: My husband, what is it?

1115

WREKUDARA: Where is Srenggini now?

1116

REKATAWATI: I don’t know. I heard news that my child Srenggini hasn’t been seen lately. How could you do that, how could you be so cruel to your child, just to obey your teacher, Priest Durna!

1117

Rekåtåwati. Ka Mas, kados pundi? Saiki Srenggini nèng endi? Kulå mboten ngertos. Seprikå-sepriki lajeng mboten wonten. Pawartosipun anak kulå, Srenggini, mboten ketingal. Penjenengan kok sok kebangeten dumèh guru lé manut miturut lawan Pendhitå Durnå tégå kaliyan putrå penjenengan!

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk]

330

Act 3

PUNTADEWA: Ooooh, doom and damnation, é-éé-é-éh! Where is he whose called King Ajijaya Diningrum? I am the eldest of the Pandhawas, I am.

1118

AJIJAYA: Doom and damnation! An ogre as large as a house looms over me. I am the king of Jongparang, and I am called King Ajijaya Diningrum.

1119

PUNTADEWA: I won’t stand for this. Where’s my younger brother, Arjuna. If you don’t return him, I’ll snap your neck in half!

1120

AJIJAYA: Wadhuh!!

1121

Ooooh, wélah dalah, é-é-é-é-éh! Mendi [endi] kang jejuluk Prabu Ajijåyå Diningrum – aku luhur Pendhåwå, aku. Wélah dalah! Ånå butå njenggeleg sagubuk ranggon gedhéné. Iki ratu såkå ing Jongparang, yå aku kang jejuluk Prabu Ajijåyå Diningrum. Ora trimå. Kadangku Arjunå nang endi? Ora kok balèkaké, tatas janggamu!

Wadhuh!

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] [Sulukan ada-ada in Solonese style laras sléndro pathet manyura] [Céngkok Ki Sugino Siswocarito] DHALANG : 1� 1� 1� 1� 1� 1� 1� 1� Si-grå bå-lå kang tu-ming-al, 3 5 6 6 6 6 6 6 A- cam-puh sa-myå me-da-li, 6̣ 1 2 2 2 2 2 2 Lir tha-thit wi-let-ing gå-då, 3 3 3 3 3 5-3 21 1 2 Mun-car-nyå ma-ngun-då ni- ti, É... DHALANG: Suddenly an army was visible, Struggling to emerge together, Like lightening the snarl of bludgeons, Sparkled as they were brandished for battle, É...

Pathet manyura DHALANG: King Ajijaya Diningrum fought with the giant ogre who was the eldest of the Pandhawas, King Puntadéwa. They fought with equal power and strength. Finally, King Ajijaya Diningrum returned to his original form to become Sang Hyang Rekatatama and the giant ogre turned back into King Puntadéwa.

1122

331

Prabu Ajijåyå Diningrum ugeng kalayan Rasekså ingkang ngangken [ngaken] luhur Pendhåwå, yaiku ngedadosanipun Prabu Puntådéwå. Sami-sami digdayané, adu kawijayan ing purnå. Prabu Ajijåyå Diningrum mbabar dados Sang Hyang Rekåtåtåmå. Rasekså wangsul dados Prabu Puntådéwå.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] REKATATAMA: By all of the gods that rule the earth, is it young King Puntadéwa?

1123

PUNTADEWA: Indeed it is. And who are you, my lord?

1124

REKATATAMA: I am called Rekatatama. I am the grandfather of Srenggini, and Srenggini is my grandchild. When he came to Jodipati, he wasn’t acknowledged as Wrekudara’s child. He was even beaten. Wah, I’m heartbroken, he is my only grandchild. He only wanted to find his father, but his father didn’t accept him. Éh, his father followed the orders of Priest Durna, and that is why I am here to punish him.

1125

PUNTADEWA: Father Rekatatama please forgive my brother, Wrekudara.

1126

REKATATAMA: If you please, let us go find him.

1127

Hyang Sukmå mustikaning jagad, wayah Prabu Puntådéwå? Nuwun inggih, Padukå punikå sinten, Båpå? Awon-awon kulå kakinipun Srenggini, kulå ingkang nami Rekåtåtåmå. Kulå gadhah putu, nggih punikå Srenggini. Nalikanipun sowan wonten Jodipati, mboten kaangken putrå dèning Kang Rayi Werkudårå. Mandar dipun prewåså. Wah, kulå nggih nelångså [nlangså] naming setunggal, ming kadaran ngaku råmå mawon kok mboten dipun aku. Éh, Kang Rayi niku manut miturut kalih Pendhitå Durnå, mulå wonten mriki kulå ajar sagelemé kulå. Båpå Rekåtåtåmå, kadang kulå Werkudårå dipun paringi pangapunt[en]... Månggå, kulå aturi pinanggihan.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk]

332

Act 3

DHALANG: The story mentions that Tenung Turanggadhèsthi rebelled because his king, Ajijaya Diningrum, changed into the god Rekatatama, and he attacked King Puntadèwa. It is said that the white forest deer, who was actually Prince Nakula, leapt up and bit the neck of the great ogre, Tenung Turanggadhèsthi. The forest deer turned back into Prince Nakula and Tenung Turanggadhesthi became Prince Antaséna.

1128

Kocap kacaritå Tenung Turånggådhèsthi mboten narimah Prabu Ajijåyå Diningrum mbabar dados Sang Hyang Rekåtåtåmå, badhé ngoyak Prabu Puntådéwå. Kocapå kancil putih ngedadosanipun Radèn Nakulå menculat nyokot [nyakot] manikipun denawa ageng, Tenung Turånggådhèsthi. Kancil mbabar dados Radèn Nakulå, Tenung Turånggådhèsthi dados Radèn Åntåsénå.

[Sampak in Solonese style laras sléndro pathet manyura] TURANGGASHESTHI: A-dhuh! U...yah!

1129

A...dhuh!! U...yah!

[Suwuk] ANTASENA: Uncle Nakula, Uncle, Uncle.

1130

NAKULA: Why, but you’re Antaséna.

1131

ANTASENA: Yes. A long time ago when Srenggini returned home from Jodipati, I followed him all the way here. I felt sorry for my younger brother, Srenggini. Uncle Nakula, Uncle...

1132

NAKULA: O, but it’s you, Antaséna. Enough, let’s go. Your uncle the king [Puntadéwa] is also here.

1133

ANTASENA: O, that’s the one who’s a giant ogre. O, ya-ya, ya-ya.

1134

DHALANG: The story mentions that Tenung Turanggamaya went amuck.

1135

Paman Nakulå, Pak Lik, Pak Lik. Lho, kok kowé Åntåsénå. Iyå. Nalikané Srenggini mbiyen bali såkå Jodipati, terus aku ngetut-buri nganti tekan mréné. Lho, wong aku råså welas karo adhiku, Srenggini. Paman Nakulå, Pak Lik...

O, lha kok kowé, Åntåsénå. Wis, ayo tå. Kaé Wakmu Prabu ugå wis rawuh mréné. O, sing dadi butå gedhé mau kaé. O, iyå-yå, iyå-yå. Kocap kacaritå Tenung Turånggåmåyå swårå amuk.

Pathet manyura

333

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] DHALANG: The remaining white forest deer was in reality Prince Sadéwa. When Turanggamaya ran amuck, the white forest deer leapt up and bit the throat of the ogre. Tenung Turanggamaya changed back into his original form as Prince Srenggini and the forest deer resumed the form of Prince Sadéwa.

1136

Kancil pethak kantun setunggal nggih punikå ngedadosanipun Radèn Sadéwå. Turånggåmåyå swårå amuk, kancil pethak menculat nyokot maniking denåwå. Tenung Turånggåmåyå mbabar dados Radèn Srenggini, kancil mbabar dados Radèn Sadéwå.

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] SADEWA: Why, who are you?

1137

SRENGGINI: I don’t think I remember who you are.

1138

SADEWA: I am Sadéwa.

1139

SRENGGINI: Wadhuh! If you’re Sadéwa, then you’re my uncle!

1140

SADEWA: Why, are you Srenggini?

1141

SRENGGINI: Yes. I’m the one who once came to Jodipati and then was beaten by my father.

1142

SADEWA: Adhuh! Child! Child! Srenggini, child!

1143

Lho, iki såpå, yå? Kulå piyambak dèrèng patoså apal kaliyan penjenengan! Aku iki Sadéwå. Wadhuh! Menawi Sadéwå, nggih paman kulå! Lho! Åpå kowé Srenggini? Inggih. Kulå ingkang rumiyin sowan dhateng Jodipati dipun prewåså dèning bapak kulå. Adhuh! Kulup! Kulup! Srenggini, Kulup!

[Sampak in Solonese style laras sléndro pathet manyura]

Act 3

334

KRESNA: Brother Wrekudara?

[Suwuk] 1144

WREKUDARA: My brother, dark Kresna.14

1145

KRESNA: So, you’ve changed back into your mortal form?

1146

WREKUDARA: I have, and I’ve met Srenggini’s mother. And Srenggini, I’ve met my young son.

1147

KRESNA: Very good! But take care, Séna.15

1148

WREKUDARA: What do you mean, dark Kresna, my brother?

1149

KRESNA: An army of ogres have rebelled because their king has become your father-in-law, Rekatatama.

1150

WREKUDARA: What do you wish of me?

1151

KRESNA: Go get ‘em!

1152

Dhi Mas Werkudårå? Jlitheng Kresnå, kakangku. Wis pulih dadi menungså?

Uwis ketemu lawan ibuné Srenggini. Lan iki Srenggini, wis ketemu anakku lanang. Bagus! Nanging sing ati-ati, Séna [Brataséna = Wrekudara]. Kepriyé, Jlitheng Kresnå, kakang[ku]...? Wadyå-bålå butå kaé ora trimå ratune mbabar dadi Sang Hyang Rekåtåtåmå, mertuwamu. Arepé kepri[yé]...? Temoni dhisik!

[Sampak in Solonese style laras sléndro pathet manyura] [Suwuk] OGRE : É-éh! I don’t want my king to change. I don’t have a king. É-éh, here’s the envoy, Prince Wrekudara.

1153

WREKUDARA: What do you want?

1154

14 15

É-éh, ora trimå gustiku Prabu mbabar. Aku ora nduwé ratu. É-éh, iki sesulihe Radèn Werkudårå. Åpå biabamu?

Kresna is indeed a black-faced character. Séna, or Brataséna, is another name for Wrekudara or Bima.

Pathet manyura OGRE: I won’t stand for it. My king is gone, he changed into Rekatatama through the deeds of the Pandhawas.

1155

WREKUDARA: Well, since you won’t stand for it, I’ll rip open your chest!16

1156

335

Aku ora trimå. Ratuku ilang mbabar Sang Hyang Rekåtåtåmå såkå pakartining Pendhåwå.

Yèn ora trimå, tak orèk-orèk dhadhamu!

[Orèk-orèk laras sléndro pathet manyura]17 [Kakitunggu Jagung lancaran laras sléndro pathet manyura]18 [Orèk-orèk laras sléndro pathet manyura] [Sounds of battle] [Kakitunggu Jagung lancaran laras sléndro pathet manyura] [Orèk-orèk laras sléndro pathet manyura] [Suwuk] 16

orèk. 17

Wrekudara’s words, ‘I’ll rip open your chest’ (tak orèk-orèk dhadhamu), cues the piece Orèk-

In Solonese, Yogyanese, and Banyumas wayang kulit, Wrekudara, or sometimes one of his sons (or even occasionally the monkey character, Anoman), fights the final battle, or at least plays a major role in it (see, for example Van Ness and Prawirohardjo 1980:55). At the conclusion, he struts and dances in victory (this scene is known as tayungan). In this performance, Wrekudara dances twice to the accompaniment of the piece Kakitunggu Jagung: first when he vanquishes his foe and then again when he finshes him off by tearing the ogre’s chest open with his famous fingernails (called pancanaka). This battle culminates the series of battles collectively called perang brubuh. The piece Orèk-orèk is, according to Rasito, created by the group. It is based upon gangsaran, a monotone piece (on either pitch 2 and 6) of eight beats per gongan and played here to express the extreme intensity of this battle. The effect is heightened by virtuosic melodic-rhythmic patterns played on the bonang and some of the saron (see my transcription in Appendix 5, p. 517). According to Sena Wangi (1983:164), traditional Banyumas wayang kulit simply has sampak here instead of Orèk-orèk. 18 Kakitunggu Jagung was originally a Yogyanese ladrang (thirty-two beats per gongan divided into four kenong phrases). Sugino’s group, however, plays it as a lancaran (eight beats per gongan divided into four kenong phrases of two beats each). This was, apparently, accomplished by turning each kenong phrase of eight beats into a gong phrase (see my transcription in Appendix 5, p. 518). According to Sena Wangi (1983:164) traditional Banyumas-style wayang kulit uses Ketawang Pisang Bali for Wrekudara’s victory dance. In Solonese wayang kulit, Wrekudara’s dance is accompanied by the piece Thingthingmo (Nojowirongko 1961:69), while in Yogya it is accompanied by Kala Ganjur (Mudjanattistomo et alia 1977:166).

336

Act 3

SEMAR: I have also come here, my master, Wrekudara.

1157

WREKUDARA: Semar, my older brother, what is it?

1158

SEMAR: Master Janaka has been healed. My lord the king has returned to his form as king of Ngamarta. Now that you have acknowledged Srenggini as your son, Rekatatama has removed his curse on the palace of Ngamarta and it is no longer overgrown by jungle grass and cane bush.

1159

WREKUDARA: If that’s the case, what is it you wish, Semar my elder brother?

1160

SEMAR: Well, Father Teacher Durna would like to return home with us.

1161

WREKUDARA: He’s here?

1162

SEMAR: Hah-indeed, he’s here and would like to return to Ngamarta with us. He won’t ever again do evil against the Pandawas.

1163

WREKUDARA: If that’s the case, then so be it, Semar my elder brother.

1164

Kulå ugi tumut mriki ndårå kulå, Werkudårå. Semar kakangku, kepriyé?

Ndårå Janåkå sampun waluyå jati. Gusti kulå Ingkang Sinuwun sampun wangsul asipat Naléndrå Ngamartå. Mandar kålå wau sami ngendikan pancènipun Kraton Ngamartå thukul glagah pangalang-alangan. Niku damelanipun Sang Hyang Rekåtåtåmå. Lha, saniki [saiki] keng Putrå Srenggini sampun dipun angken mboten wonten punåpåå. Yèn ngono kerepmu kepriyé, Semar kakangku? Niku Kang Råmå, Pendhitå Durnå, badhé tumut wangsul. Nang kéné? Lha inggih, wonten mriki badhé tumut kondur wontening Ngamartå. Mboten badhé malih-malih damel cintråkå dhumateng putrå-putrå Pendhåwå. Yèn kåyå ngono, manut, Semar kakangku.

[Ayak-ayakan in Solonese style laras sléndro pathet manyura] SEMAR: Hah-indeed, my master. If you please, I will accompany you.

1165

Ha-inggih, Den, ndårå kulå. Månggå, kulå dhèrèkaken.

Pathet manyura

337

[Sirep] KRESNA: Elder brother, Semar.

1166

SEMAR: I await your command, my lord, king of Dwarawati.

1167

KRESNA: All have returned to good health and all is well. Come, let us camp for awhile here, Semar. When the sun sets into the west, we can begin our journey home to Ngamarta together.

1168

SEMAR: I have one request, my lord king of Dwarawati.

1169

KRESNA: What is it, Elder brother Semar?

1170

SEMAR: Before we finish here, let us all ask for the blessings of Almighty God, Creator of the Universe. May we and our friends as well as our audience share in prosperity and well-being. There’s a riddle: a pair of siblings of equal age play among the flowers, for our many sins we beg you for an ocean of pardons.19

1171

19

Kakang Semar. Kulå nuwun dhawuh pangandikå gusti kulå, Nåtå Dwåråwati. Pådhå wis waluyå jati ora nånå [ånå] ngedadian åpå-åpå. Ayo tå, pådhå mesanggrahen [masanggrahan] dhisik sawetårå, Kakang Semar. Yèn mengko wis ånå suryå gumiwang ing kulon pådhå kondur marang Ngamartå bebarengan. Nanging, kulå wanti-wanti gusti kulå, Nåtå Ndwåråwati. Kepriyé, Kakang Semar? Sadèrèngipun paripurnå, månggå, kulå aturi sesanti sesarengan meminta dhumateng Panguasaning Gusti ingkeng akaryå jagad. Kulå sakåncå mugyå winantu saking karaharjan. Ingkang nimbali mugi mekaten ugi. Wonten pangandikå: “jenang sélå wader kali sesondhèran, menawi kulå lepat, nyuwun genging samudrå pangaksami” [Jenang séla wader kali sesondhèran, apuranta yèn wonten lepat kawula].

The dhalang is of course speaking to the audience and his own musicians through Semar. This English version of the saying is simply a translation of the general spirit rather than the actual text of Semar’s message in the guise of a wangsalan, a kind of riddle made up of two lines. In most, the first line contains two riddle words while the second line provides homophonic clues to the answer. Rasito argues that there are three riddles and three clues in this particular wangsalan. Thus, the saying (somewhat misquoted by Sugino, according to Rasito) that Semar was referring to: Jenang séla wader kali sesondhèran, Apuranta yèn wonten lepat kula, translates something like:

Act 3

338 WREKUDARA: So it does, Semar my older brother. Now, Semar, let us all stop and rest here for awhile.

Mengkono Semar, kakangku. Iyå, Semar. Pådhå manut lèren sawetårå.

[Udhar]20 [Sampak in Solonese style laras sléndro pathet manyura] [malik pélog] [Closing music of Mudha Budhaya laras pélog pathet barang]21 [End]

Stone porridge and a river fish dressed in a sash, Forgive [me] if I have erred. Jenang séla is a ‘porridge of stone’ while wader kali is a ‘river fish’ and sesondhèran refers to wrapping a long piece of cloth or sash around the chest and/or the waist. The answer to the first riddle is kapur (chalk), to the second sepat (the name of a river fish), and to the third ula (snake). The clues are in the words apuranta (kapur), lepat (sepat), and kawula (ula). In my own (and rather feeble) attempt at an English language wangsalan, the clues are in the words sins and pardons. The answers of course are twins and garden. 20 At this point, Sugino replaces the two kayon in the center of the stage, partially covering some of the characters, to signify the end of the story. 21 This piece was composed by Rasito. It has no title and is the troupe’s banner closing music.

APPENDICES

appendix 1

Music transcription Overture (Talu) Cucur Bawuk, gendhing kethuk kalih kerep minggah Paréanom, Ladrang Srikaton, Ketawang Sukmailang, Ayak-ayakan gaya Solo/Banyumas, Srepeg Banyumas kaselingan Palaran Pangkur Paripurna, Sampak Guntur, laras sléndro pathet manyura Buka rebab:

· 2 2 2

3 3 · 2 2

2 3 3 1

1 3 2

· 1 2 6̣ G

t · 6 · 6 · 6 · 6 3 5 6

t

N

1�

6

5

3

5



·

2

3

·

3

3

·

5

6

5

6

1�

6

5

3

5



·

2

3

·

3

3

·

5

6

1

6

5

5

3

5

6



3

5

6

1 �

6

5

3

2

1

2

3

2

·

1

2

6̣ G



2

2

·

·

2

3

2

1

2

3

2

1

6̣

5̣

2̣

3̣



·

·

3̣

6̣

3

5

6

1 �

2

3

2

1

6̣

5̣

2̣

3̣



2

2

·

·

2

2

·

3

5

6

·

1

6

5

2

3



2

1

2

·

2

1

2

3

6

5

3

2

·

1

2

6̣ G

2

·

5

·

6

·

2 �

·

1 �

·

5

·

3

Umpak minggah:

·

1

·

Inggah:

t

t

t

t

N



·

5

·

3

·

5

·

3

·

5

·

3

·

1

·

2



·

5

·

3

·

5̣

·

3

·

5̣

·

3

·

1̣

·

2



·

3

·

2

·

1

·

6

·

2

·

1

·

5

·

3



·

5

·

6

·

3

·

2

·

3

·

2

·

1

·

6̣ G

Appendix 1

342 Ladrang Srikaton:

t

t

N

t

t

N



·

2

·

1

·

2

·

6̣

·

2

·

1P

·

2

·

6̣



·

2

·

1P

·

2

·

6̣

·

3

·

6P

·

3

·

2G



·

5

·

6

·

5

·

3

·

1 �

·

6P

·

5

·

3



·

2

·

1P

·

2

·

6̣

·

2

·

1P

·

2

·

6̣ G

Ketawang Suksmailang:

t

t

N

t

t

N



·

·

2

6̣

1

2

3

2

6̣

1̣

2

3P

6̣

5

3

2G



3

3

·

·

3

3

5

3

6

1 �

6

5P

1�

6

5

3G



·

·

3

5

6

3

5

6

3

5

6

1 �

P

3 �

2 �

1 � 6G



1 �

1 �

·

·

3 �

2 �

1 �

6

3

5

6

1 �

P

3 �

2 �

1 � 6G



3

3

·

·

3

5

3

2

6̣

1

2

3P

6

5

3

2G

t ·

N t 5 ·

NG 3

t ·

N 2

t ·

NG 1

Ayak-ayakan Patalon in Solonese style:

t ·

N 3

t ·

NG 2

t ·

N t 3 ·

NG 2

t t N t t NG t t N t t NG t t N t t NG t t N t t NG 2 3 2 1 2 3 2 1 3 5 3 2

3

5

3

2

5

3

5

6



6

5

3

2

1

2

3

2

1

5 3 5 6 5 3 5 6

3

5

3

2

5

3

5

6

5

3

2

1

2

3

2

1



3

5

3

2

5

3

5

6



5

3

5

6

5

3

5

6

5

3

2

1

3

5

3

2



3

5

3

2

3

5

3

2

5

3

2

3

2

1

2

1

2

3

2

1

2

3

2

1

3

5

3

2



3

5

3

2

5

3

5

6



5

3

2

1

2

3

2

1



3

5

3

2

5

3

5

6



5

3

2

1

2

3

2

1

5

3

5

6

5 5

3 3

5 5

6 6

5

5 5

3

3 3

5

5 5

6 6

Music transcription overture

3

5

3

2

5

3

5

6*



5

3

5

6

5

3

5

6**

* ** &

[irama wilet] [mandheg (pause)] [udhar (resume normal volume and tempo)]

·

·

·

343

2&

Ayak-ayakan Patalon Banyumasan: 1

N 3 1

NG 2 1

N 3 1

NG 2 3

N 6 3

NG 2 1

N 3 2

NG 1



5

2

5

1

5

2

5

1

3

6

3

2



3

6

3

2

6

3

5

6



5

3

5

6

5

3

5

6

3

6

5

3

6

5

3

2



1

3

1

2

1

3

1

2

6

1�

3

2

6

3

2

1

P N

N N

2

1

Srepegan Banyumasan: P P P P P N N N N N N N N N N N

P N N



6

1�

6

1�

6

3

2

1G



2

3

5

3

5

6

1�

6G



3

5

6

5

1�

6

5

3G



5

3

5

3

5

6

1�

6G



1�

6

1�

6

3

2

5

3

2

1

2

1G



5

3

2

1

3

5

6

1�*

3

5

1�

6



5

3

2

3

5

6

1�

6G

*

[sometimes played:

5

3

2

1]

3

2G

Sampak guntur: P P P P P N N N N N N N N N N N · 3 · 6 · 5 · 3 · 1 ·

P N N 3 ·

P N 2

N N · 1G



·

3

·

6

·

3

·

2

·

6

·

3

·

5

·

6G



·

3

·

6

·

5

·

3

·

6

·

5

·

5

·

2G

·

5

·

6G

Suwuk:

·

3

·

6

·

3

·

2

·

6

·

3



3 3

1� 1�

6 6

3 3

1� 3

6 5

3 3

1� 2G

6

3

1�

6

Appendix 1

344

Senggakan Ayak-ayakan Patalon Banyumasan (Text by S. Bono) (1) Balungan :

1

3

1

2

(2) Balungan :

1

3

1

2

(3) Balungan :

3

6

5

3

(4) Balungan :

1

3

2

1

(5) Balungan :

5

2

5

1

(6) Balungan :

5

2

5

1

(7) Balungan :

3

6

3

2

(8) Balungan :

3

6

3

2

(9) Balungan :

6

3

5

6

(10) Balungan :

5

3

5

6

(11) Balungan :

5

3

5

6

(12) Balungan :

3

6

3

2

(13) Balungan :

6

5

3

2

Senggakan :

6 Ja-

(14) Balungan :

1

1� rit-

2� 6 é 3

3 ka- 1

2 wung,

1

2

Music transcription overture

345

Senggakan :

1 Gu-

3 nung

1 gu-

2 gur

(15) Balungan :

1

3

1

2

Senggakan: (16) Balungan :

2 i-

1 si- 6

Senggakan: · (17) Balungan : Senggakan: (18) Balungan :

1 né

6 A-

6 6 6 wong se-

6 neng

5

3 dhu-

1 se-

1 li-

2 kur,

1�

3

2

1� ja

3� mun-

2� dur

3

2

1

3 ka-

5 ro

2

Senggakan : ·

2 O

(19) Balungan :

2

5

3 dha

3 se-

2 du-

5 1 a-

2 lah

1 1 i-

5 1 a-

2 lah

1 lur,

1 ya, 1

Senggakan : ·

2 O

1 o-

1 ra,

(20) Balungan :

3

6

3

2

(21) Balungan :

3

6

3

2

(22) Balungan :

3

6

3

2

(23) Balungan :

6

3

5

6

(24) Balungan :

5

3

5

6

Appendix 1

346 (25) Balungan :

5

3

5

6

(26) Balungan :

3

6

5

3

(27) Balungan :

6

5

3

2

Senggakan : (28) Balungan :

6 A-

1� ti-

1

2� 6 né 3

Senggakan: · · (29) Balungan :

1

Senggakan :

1� 2� a-

(30) Balungan :

6

Senggakan : · (31) Balungan :

(32) Balungan :

(33) Balungan :

1� ring-

5

Senggakan : ·

6 mur

1� ge

2� git

1� 2� wa-

2

1

6 2� pur- 5

2� · pra- 3 5 ge-

1� wa, 1

6 2� 1� mi- nang

5

3 Pang-

2� ni,

2� 3� 2� 2� lar- an

2� · ki

(34) Balungan : 3 6 Senggakan : · ·

2� ci 2

2

2 3� ka-

2� wan-

3

2 3� I-

2� ti

2 ngung, 2

1

3

5

Senggakan : ·

2� Ti-

1�

6

Senggakan : ·

1

3

6 Pa-

3 2 bi-

1 6 2� 1� tan- dha,

6 lar

2 1� mi-

Music transcription overture (35) Balungan :

3

Senggakan : 2� · (36) Balungan :

6 6 wah

6

Senggakan : · (37) Balungan :

6

Senggakan :

5 si-

(38) Balungan :

6

Senggakan : · (39) Balungan :

3 am-

3 gra

1 2 dung-

5 3 ju-

6

6

Senggakan :

6 wan-

5 ta-

2 6̣ mu-

1 ju-

3 A-

6 rum

6̣ rung 6

6̣ mu-

2 rung 3

5 nda-

3

2� 6 né

6 lu 6

5

5 1� ci-

3 kap

2 bar 6

5

1 2 gra

Senggakan : 3 · ·

2 1 ba-

5

3 2 si-

2

5

3

3

(40) Balungan :

3

3 6̣ an-

347

3 lu 2

3 2 mang-

2 gung.

Sindhènan/senggakan srepegan Banyumasan (Senggakan text by Ki Nartosabdho) (1) Balungan :

6

1�

6

1�

(2) Balungan :

6

3

2

1

Senggakan :

1� 1� Ma- ngu-

(3) Balungan : Senggakan :

1� wuh

2 2 wan-

1� pek- 3

6̣ ci

6 si

3 man-

2 yu-

5

3 · né

1 ra 3

3 an-

3 dung-

Appendix 1

348 (4) Balungan :

5

Senggakan : · (5) Balungan : Senggakan : (6) Balungan :

Senggakan : (8) Balungan : Senggakan :

2 kap

3 2� sa-

6 nis-

3 Wos-

5 ka-

1 ing

6 be-

5 hi-

2 pa-

5 ra,

3 cik

3 la

1 ge-

2 lar-

3 an 3

6 ti-

1� 1� ke-

·

3

5 5 ka-

6 na 5

5

6 6 a-

3 ra-

6

6

3

5 5 kang

5 gat

6

5 5 Kang

3 ga-

1�

5

1�

Senggakan : · (7) Balungan :

6

3 tik 6

2� ta-

6 ra,

(9) Balungan :

1�

6

1�

6

(10) Balungan :

3

2

5

3

Senggakan : · (11) Balungan :

2

Senggakan : · (12) Balungan :

6 A-

5

Senggakan : ·

1� 2� · wit 1

1 a-

1 pan 3

6 i-

2

1

6̣ 2 nya- 2

5 6 3 · go- tèk

3 ku

1 ta 1

2 ing-

1 kang

Music transcription overture (13) Balungan :

3

Senggakan :

3 ri-

(14) Balungan :

3

Senggakan : · (15) Balungan : Senggakan :

5 3 dhu

6

5 · pa- 5

6 Hom

3

1 6 ma-

1 yang

1�

1� a- 2

3 As-

349

6

2� 3� wig-

6 nam

1

2 tu

2

1 6̣ na-

2

2 man.

[Irama rangkep] [traditional Banyumas text] (17) Balungan :

5

Senggakan : · (18) Balungan :

5

Senggakan : 5� ·

3 2� Pi-

2

3� · 2� 1� tik wa- lik 6

3 2� jam-

1�

3� bul, 6

5� 3� 2� 1� · 3� 2� 1� 6 Sa- ga go- long mam- bu cen- thong,

(19) Balungan : 3 5 6 5 Senggakan : · 5 5 5 · 6 2 3 5 Kan- ca- né ku- rang si- ji, (20) Balungan :

1�

6

5

Senggakan : · 3 5 6 6 Ga- wé cu- wa (21) Balungan : 5 3

3

3 5 3 2 3 ra- sa- ning a- ti 5

3

Sindhènan : · 1 2 3 5 · 1 2 3 3 Sing sa- yuk sing ru- kun, Alok : 3 1 3 · · é ha é

3 1 3 é ha é

·

·

Appendix 1

350 (22) Balungan :

5

6

1�

6

Senggakan : · 6 6 1� 5 6 · 5 3 5 6 Go- tong ro- yong nyam- but ga- wé, (23) Balungan :

1�

6

1�

Senggakan : · · 2� 3� (24) Balungan :

3

6

5� · 6 6 6 1� U- wi da- wa da- wa

2

5

Sindhènan : · ·

3

2� 2� 2� 2� 2� U- jung ja- ri ba-

Senggakan : · · 2� 3� · 5� · 6 6 6 1� U- w i da- wa da- wa (25) Balungan :

2

Sindhènan : (26) Balungan : Alok (I) :

1

3� é

2� 5� o

3� é,

Alok (I) :

5 3� é

2� 5� o

3� é,

3

3 5 3 2 ke- la-

1 pa

2

1

.

.

.

1� o

1� o,

·

6 a

2� é

2� é

6 a

2� é

3

2

1

·

·

·

1� 6 o ha-

1� o,

Alok (II) : · · (28) Balungan :

6 ing

1

3

Alok (II) : · · (27) Balungan :

2

3� 1� 2� lung ron- dhon- 5

6

5

6 6 ha- a

2� é

1�

6 a

2� é

6

Sindhènan : · · · 6 6 6 6 Ka- weng ku- a

Music transcription overture (29) Balungan :

3

Sindhènan : 6 6 1� sa- yek- ti

351

2

1

2� da-

6 3 · dya u-

2 1 2 sa-

Palaran Pangkur Paripurna [traditional Banyumas senggakan, sindhènan by Ki Nartosabdho] Senggakan : 3 33 3 6 5 63 Mbok a-ja nyeng-kir wu- lung, Sindhènan : 6 1� 2� 2� 2� 1�2�3� Sur-ya can-dra lan kar-

1�3�2�1�6 ti-

3-5321 ka,

Senggakan : 1� 1� 2� 3� 3�-5�3�2� 1� Du-wa lo-lo owèng, Sindhènan : 6 1� 1� 1� 1� 1� 1� 1�3�2� Ju-rang har-ga myang we-ning ja-

2�1�6 532 1-616 la ni- dhi,

Senggakan : 2� 5� 2� 6 1� 2� 1� 62� 2� 6 3� 2� Es a-nyès èks-près ban-ter ba- nget jas jis jus, Sindhènan:

3� 3� 3� 3� 2� 2� 2�1� 1�2�-1�2� Yek-ti ma-wa pa-sang su- rut,

Senggakan:

6 1� 2� 3� 6 1� 2� 3� 6 1� 2� 3� 6 3� 2� 3� Gen-dul so-pi dhu-kur ba-yi di-pi-jet-i di-u-rut-i



1� 2� 3� 2� 1� 2� 3� 1� 2� 3� 2� 1� 2� 3� Nat e-net e-nat e-net nat e-net e-nat e-net,

Sindhènan:

1� 1� 1� 1� 61�2� 31�2�2�6 3-5321 A- ja ma-lih ta sira,

Senggakan:

6 6 6 6 6 3 6 56 2 5 6 5 2 5 3 Ba-pak ba-pak a-ku we-ruh sing ngang-go klam-bi i-jo,



1 2 3 2 3 1 2 3 2 3 I- jo-né lo-lé a-bang-é lo-lé,

Sindhènan:

3� 3� 3� 3� 1� 1�-61� 3�-2�3�5� 2� Yèn ka-lis-a o-wah ging- sir



6 5-32-356 1�2�1�6 3-532 Ing tumu- wuh,

Senggakan : 6 2� 6 3 5 6 1� Mam-pir Mas mang-ga mam-pir

2� 3� 2� 3� 6 6 6 6 6 6 1� 2� Mam-pir mam-pir na-pa ès-tu na-pa mbo-ten

2 da.

Appendix 1

352

2� 3�5� 2� 3�5� Mam-pir mam-pir,

Sindhènan : 2� 2� 2� 2� 2�-1� 1�-2�3� 1�-3�2�-1�6 3-5321 Ra-tri ri-na so- ré béda, Senggakan : 6 6 6 6 3 5 6 6 I- ki wo-ngé lo nang ké-né 2� 1� 2� 3� 2� 1� 2� 6 I- ki wo-ngé lo nang ké-né, Sindhènan : 62�1� 6 6 6 65 Ba- ya tan su-sah

356535 2-16̣ 1-6̣12 pini- kir.

Sindhènan/senggakan srepegan Banyumasan (text and vocals by Ki Nartosabdho) (1) Balungan :

6

1�

6

1�

(2) Balungan :

6

3

2

1

Senggakan :

1 1 Ma- ngu-

(3) Balungan :

2

Senggakan :

2 wan-

(5) Balungan :

3

Senggakan :

2� sa-

(6) . Balungan :

1�

Senggakan : ·   (7) Balungan : 5 Senggakan :

5 Kang

1 wuh

1 pek-

6 si

3 6 ci

3 · né

5 ka-

1 ing 3

6 be-

3 an-

5 ra,

3 cik

1 ge-

·

3 2 lar-

5 5 ka-

3 dung5

5 2 pa-

1 ra 3

6

6 3 Wos-

2 yu-

5

5 6 nis-

3 man-

3 an 3

6 ti-

3 tik

Music transcription overture

353

(8) Balungan :

5

Senggakan :

5 kang

(9) Balungan :

1

6

1

6

(10) Balungan :

3

2

5

3

6

Senggakan : · (11) Balungan :

6 A-

2 1 a-

5

1 pan

3

Senggakan :

3 ri-

(14) Balungan :

3

5 3 dhu

6 Hom

3 3 As-

2� ta-

6 i-

3 ku 1 1 ta

2

1 2 ing-

1 kang

6

1� 6 ma-

1� yang

1�

1� a-

2� 3� wig-

2 2 thu

1 1 6̣ ma-

[Continues with Sampak Guntur]

6 ra,

6̣ 2 nya-

5 · pa- 5

6

2

5 6 3 · go- tèk

(13) Balungan :

(15) Balungan : Senggakan :

1� ke-

1� 2� · wit

3

Senggakan : ·

Senggakan : ·

3 la

1

Senggakan : · (12) Balungan :

6 a-

1�

6 6 nam

2

2 2 nan.

appendix 2

Music transcription Act 1 (Pathet nem) Ayak-ayakan Banyumasan laras sléndro pathet nem Buka kendhang : · 2 3 P P P N N N N N N 6 5 6 5 6 5 6 5 2

N 3 5

N 6G



1�

6

1�

6

5G

1�

6

1�

6

3

2

5

3

2

1

2

1G



2

1

2

1

2

1

2

1

3

5

6

5G



6

5

6

5

6

5

6

5

2

3

5

6G



1�

6

1�

6

1�

6

1�

6

5

3

1

2G

3

2

5

3

6

5

3

2G

3 2 1 6̣

3̣

5̣ G



5

6

5

3

5

6

5

3

1 · 1 · 3 3 1 2

(ladrangan) : t P t N 1 6̣ 3 2 1 6̣ 3̣ 5̣ 1 3

t 6 3

P 2 1

t 6 3

N 5

3�

2

1

3

5�

2�

3�G



2

5

2

3

2

5

2

3

5

5

3

2

3

6

3

5G



3

6

3

5

3

6

3

5

2

2

5

3

6

5

3

2G



1

3

1

6̣

1

3

1

2

1

3

1

6̣

1

3

1

2



3

5

3

2

3

6

3

5G



3

6

3

5

3

6

3

5

6

6

2

1

3

2

1

2G



3

2

5

3

6

5

3

2

5

6

5

3

5

6

5

3



6

5

2

3

5

6

5

3

2

1

3

2

6

3

5

6G

Appendix 2

356 (Ayak-ayakan Banyumasan): N

P N N

P N N

P N

N

N



1�

6

1�

6

1�

6

1�

6

3

5

6

1�G



2

1

2

1

2

1

2

1

3

5

6

5G



6

5

6

5

6

5

6

5

2

3

5

6G



1�

6

1�

6

1�

6

1�

6

5

3

1

2G



3

2

5

3

6

5

3

2G



5

3

5

6

5

3

6

5

2

6

2

3

6

5G



6

5

3

5

6

2

3

5

3

1

2

3G



5

2

3

5

1�

6

5

3

6

5

3

2G

6

6

1�

2�

3

5

6

5G



6

1�

2�

1�G



2�

1�

3�

2

5

6

1�

6G



5

3

2

3

6

5

3

2G

3 2 1 6̣

3̣

5̣ G

5

3

2

3

5

3



Suwuk:

5

6

5

3

5

6

5

3

1 · 1 · 3 3 1 2

Ayak-ayakan Banyumasan (traditional Banyumas text) Buka : (1) Ba

·

2

3

5G

[Ba = Balungan; Si = Sindhènan] : 6

5

6

Si : · (2) Ba

:

Si : (3) Ba Si :

6 1� sa-

:

2� yuk 2

5

2� 5 3 5 ro- yong nyam-but ga-

2� Sing

6

6 1� 5 sing ru- kun 3

5

5 5 go-

1� tong

5 2 3 wé,

6 5

6

6

Music transcription Act 1

357

(4) Ba

:

1�

6

1�

6

(5) Ba

:

1�

6

1�

6

(6) Ba

:

3

2

5

3

Si : (7) Ba

2� 2� Se- kar 2

1

2�

·

2

1

Si : 6 1�

1� yå,

Si

:

2� 2� · pi- sang

:

1�



(8) Ba

:

(9) Ba Si

Se-

:

sa-

2

2 1�

ji

1�

1

2�

1�

ing

1

kar-

2

1

2

1

: P

(10) Ba

:

Si : (11) Ba

3

5

1� 2� 1� 2� · ... :

6

(12) Ba

:

5

Si :

6 6 ...

:

Si : 5 Go-

2

1� 2� Pa- tut

6

5 1� la-

6

6

Si : 2� 2� 1� mun ...

(13) Ba

2� 2� pi- sang

5 6 ...

1�

5

6

5

3

5

6

5

5 nès...

6

5

3

2

Appendix 2

358 (14) Ba

:

Si :

1� 3 ...

5

6 6

(15) Ba

:

Si :

6 1� pa- tut...

(16) Ba

:

1�

1�

5

6

5

2�

:

3

3

2

:

6

5

Si : 3�

3� 3� 5� 3� 2� 1� 2� li- nu- lu- tan

(19) Ba

5

:

Si : (20) Ba

:

5

6 ing

1

2G

3 2 1 2 1 la- mun

3� 3� pa- tut

3 2� 6 2� 6 1� la- mun

3� 1� 2� sa- så- 5

2

2 2� må, 3

3 2 6 3 1 2 6 6 5 6 1 ga- nès go- nas ga- nès wi- ca- ra- né 6

Si : 3 3 2 5 ba- pak

6

3

6

6 6 Go- nas

1�

5

Si : (18) Ba

6

6

Si : 3� 2� 3� 2� 1 6 . . . (17) Ba

6

3 6 ba- pak

5

3

2 1 2 6 2 3 3 ba- pak- né si tho- lé,

(21) Ba : 1 · 1 · 2 6 5G Si : 6 6 6 6 6 6 1� 6 5 3 5 2 1 6̣ 2 1 6̣ 5̣ Pa- tut la- mun li- nu- lu- tan ing sa- så- må, (22) (Ladrangan) Ba

:

1

Si :

6̣ 1 2 6̣ Go- nès

3

2

5̣ 1 2 1 2 2 2 wi- ca- ra- né

Music transcription Act 1 (23) Ba

:

1�

6

Si : (24) Ba

:

Si : (25) Ba Si : (26) Ba

:

Si : (27) Ba

Si : (29) Ba

6

:

6

3 1

3

:

:

6̣ 1 2

5 2 3 Go- nas

2 6 Re-

5

3

Si :

2� 2� Sa- tri-

2

1

2

3G

3

1� 6 6 1� 5 6 na- ning ku- su- mèng pu2

2 3 ga- nès

2

2

1� si

3

6 5 1� Brå- må,

1 2 3

6 2� \ 3� 3� yå

3

2 3 2 1 2 3 wi- ca wi- ca-ra- né,

5

(31) Ba

:

5 nå,

5

3 3 Yå ndhuk,

2

2 6 1 6 dhèn Sri Kres-

5

Si :

5̣

5

5

2

5 3 · rå,

6̣

3

3

Si : · (30) Ba

1 6 1 pun-

1� 1� 1� 1� 1� Lir pus- pi- tå war- :

1 2 1

3 1 2 1 1 6̣ 1 2 2 ya- ra ma- né dhé- wé

1 1 pe-

2 kar

5

3

6̣ må

1 2 Go- nès

Si : (28) Ba

1�

2 2 Se- kar

3

1 2 1 6̣ 1 ka- wi se-

1 2 Yå- rå- . :

359

2� gi-

6

5

3

3

2

3

5G

5

6 6\ ri kas-

6 tu-

1�

6

Appendix 2

360 (32) Ba

:

Si : (33) Ba

3

6

3

6

• :

Si : (35) Ba Si :

2

Si :

6

:

5 6 ten-

1

:

Si : (40) Ba Si :

5 ga-

2� 1� 6 5 ku 3

2 3 2 1 2 nès wi- ca-

3 3 ra- né

3

2G

3 6 5 3 5 2 man é- man é- man né-

1

3

6

5 2 3 sa- wa- nga-

6̣ né

1

6 1 2 1 6 Si- da 3

2

1

3 5 3 trem sa- wang 3

1

: 1 2 2 3 5 Man é- man é-

(39) Ba

5

5

3

Si : ·

Si

1� 6 1� 6 la-

5

1 2 2 A- yem

:

(38) Ba

3

2 3 3 go- nas

3 5 ga- wé,

· 2� 3� 2� 1� 6 2� 6 3 2 1 2 te- tep- å si- nu- dar- så- nå, :

(37) Ba

1� 2� Ting-kah

2 5 3 2 Go- nès :

(36) Ba

5

5 5 2 5 3 5 3 2 bå, Sa- yuk r u- kun yam-but n :

(34) Ba

3

1

2 3 wan-

2 tah, 6G

2 3 3 2 1 6 1 6 man, 1

2

6̣ 2 1 2 3 3 3 3 2 2 1 3 2 1 2 2 Si- da wan-tah ké-wan ba- nyu un- tuh ra- ngah, :

3 2 2 Go- nès,

5 3

5

3

2

Music transcription Act 1 (41) Ba

:

3

Si : (42) Ba

6

3

·2� 2� 2� 2� 2� 2� 1� 1� A- ja meng-eng am- bras- tha ma- 3

6

Si : 6 1� 6 5

5 · yå,

(43) Ba

:

:

3

:

Si : (45) Ba

6

Si :

3 2� 3� su- dar-

(46) [Gé = Gérongan] Ba : Si :

3

1� 6 Go- nas

6

1� 6 1� 6 pi-

:

6

Si : ·

5 5 mas, 5 2� 1� 6 tå,

5

2

1

1� 2� 1� 2� 6 3 1� ra- ma ra- ma ku d hé- wé

2

1

1� 2� 1� 2� 1� 6 må hyang gi- ri 2 1� 3� 2� ga- nès

6 1� be- bå-

3

6

Gé : · · · (47) Ba

2� rang

5 6 1� 2� 1� 6 Yo mas yå

5 2 3 5 6 Go- nès :

5G

3

Si : · 1� 2� Pek- si (44) Ba

361

2G 6 1� 2� nå-

2� tå,

5

3

2� 3� 1� 2� 6 1� nas ga- nès wi- ca- ra- 6 Ma-

5 6 1� 6 2� La- lu mång- så

6 nis

3 né,

6 5 3 re- nggå

3 6 3 2 1 ku- su- ma-

Gé : [ · · 6 1� 5 6 3 5 3 [ku- su- ma-

2G 2 2] né,]

Appendix 2

362 (48) Ba

:

5

Si : 2 2 6 2 ̣ né, Sa- yuk

6 3 ru-

Gé : · · (49) Ba

:

5

5 6 kun

2 1 2 6 1 ̣ 2 3 3 nyam-but nyam-but ga- é,

5 6 1� 2� Sa- tri-

6 1� 6 5 yå

5

6

5

Si : ·

6 6 Pa- nu-

2� 1� 2� su- ling

Gé : · · (50) Ba

:

5 6 1� 2� lé- san-

6

Si : 5 6 1� 6 5 3 då

5 5 6 ba-

3

3 ing 3

6 6 ma- gut

6 yu-

6 1� 6 5 3 pu- rå, 2

3

5 3 6 21å pak ba-pak-é

2 6̣ yå

3 ba- pak,

Gé : · · 6 5 6 6 1 6 5 3 Se- tyå- nå- nå (51) Ba

:

5

6

Si :

5

3

6 6 2� 1� 2� 6 6 6 5 3 5 Yèn ka- sé- på dhuh gus-ti-

Gé : · · 5 6 1� 2� dhuh gus-

6 1� 6 5 ti-

3 né

(52) Ba

3

2

:

2

1

Si : 3 3 né, Gé : · (53) Ba : 6

6 2� ra- 2 1 · · ...

6 ma-

3 né

2 1 2 dhé-

2 wé

3 Yèn

3 la-

3 5 li

2 yå

3

Si : · 2� 3� mban- to- Gé : 3 5 6

1� ma-

5

6G 2� 1� 2� ni lå-

2� 3� 1� 2� 1� rang si-

6 rå 6 rå

Music transcription Act 1 (54) (Ayak-ayakan, density doubles) Ba : 1 Si : · (55) Ba

:

Si : (56) Ba

3� Jlo- :

1� la

6

1

5 ås-

1� 3 jla-

3

363

3 må-

6 rå,

6

1�

6 li

3� jlo-

5

6

Si : 6 · 6 6 6 6 li, Pa- ra pu- tri (57) Ba

:

Si :

2

6 sing

1

6 3 mi la-

6 wan

6

5 6 nas-

6 1� la

3 jla1�G

2� ge-

3�

2

1

3 ti-

1� ti,

(58) Ba

:

2

1

2

1

(59) Ba

:

3

5

6

5G

Si : · ·

1� 2� Pa- ri

(60) Ba

:

Si :

6 pur-

(61) Ba

:

6 2� nå, 6

5 1�

6

5

1�

6 1�

6

5

5

6

5

Si : · · · (62) Ba : 2 3 5 Si : 6 1� 6 1� nès

2�

5 Go-

5 Go6G 5 nès...

Appendix 2

364 (63) Ba

:

Si : (64) Ba

1� 3 ...

6

2

:

3

1�

5

1�

6

1�

6

6

6

Si : · · · (65) Ba

:

5

Si : (66) Ba

3

2� 1� 6 kar :

3

2� Di-

3� se-

1 2� jå-

2G

6 3 2 1 2 yå ku- su-

2

5

3

Si : 2 · må

6 ing

1� we-

Alok: ·

1� yak

2� é

(67) Ba

:

3 Hé

6

6 · lo 5

Si : 2� 1� 6

3 1

2

Alok: 3� 1� 2� 1� 6 3 5 3 2 lo

2 ya

(68) Ba

3

:

5

3 ka-

2G

2 san,

3

Alok I : · ·

2 6 a

2� é

1� o

Alok II:

·

·

·

·

(69) Ba

:

5

6

5

Alok I: · Alok II:

3� é

2� a

3� é

6 · a 2� a

3� é

·

2� é

1� a ·

6 o

3 wa

3 2� é

6 a

1� é

3 a ·

Music transcription Act 1 (70) Ba

:

6

5

Si : (71) Ba

:

Si : (72) Ba Si :

6 1� 5 tå

2 yå,

1

6̣

6 we-

6

2 tan-

1 6̣ 1 sah

5

3

1

6̣

:

6

2

3

(74) Ba

:

3

1

2

(75) Ba

6 san

5 6̣ jå-

Si :

5 1 ...

2

2 yå 5

3G

2 2 Go- nès... :

6 dhu-

5̣

(73) Ba

Si :

6

6 ka-

3

6

6̣ mul-

2

6 Ing

2

:

365

1

6̣

3

5

3

3

(76) Ba

:

5

2

3

5

(77) Ba

:

1�

6

5

3

2�

·

Si : · (78) Ba : 6

6 Jar-

1� wå

5

Si : · 1� 6

3 3 sur

6

2G 5

3

Appendix 2

366 (79) Ba

:

6

Si : 5 · 3 (80) Ba Si

: : 2� Sur-

(81) Ba

3 2� yå

:

6

Si : (82) Ba

1� lu-

2

1�

2

2 yå,

·

·

5

6

5G

2� an-

·

2

1G

1� me-

6 beng

1�

1� 2� 6 cå- :

6

3 lå,

5

1

6

1�

3

2

Si : · · · (83) Ba

5

6

Si : ·

2� 6 kar-

(84) Ba

:

:

5

(85) Ba

:

Si :

2� su-

(86) Ba

:

Si :

6 6 mu- 5 2 nå,

2� nging

1� 2� så,

6G

1�

3

Ba : 1� 6 · ·

1� Sre-

6

5 6 Mu-

3

1� · gå

5

3

3 · rup

2 å-

6

5

6 gyå 2G 1

2

·

3

·

Alok I: · ·

6 a

2� é

1� o

6 o

3 wa,

Music transcription Act 1 (87) Ba

:

5

6

Alok I: · Alok II:

3� é

(88) Ba

:

2� a

3� é

2� a

3� é

6

Si : (90) Ba

:

:

6 gå

Se : · (92) Ba

:

Se :

3 6 se-

3� då-

3 a

5

6 ing

6 kar-

6 så

6 2 mu-

1 rup-

5G 1 å-

6̣

3

5

3

5

5̣ nå,

2� · pe- 1

6 yå

1� a

2

2 1� Sun

6 o

5

5

6

2� é

·

5 3 5 gya su-

Si : 2 1 · 6̣ 1 6̣

1� o ·

3

6

(91) [Se = Senggakan] Ba :

2� é

3

·

6 Sreng-

2

6 mu-

5

3� · é

Si : · (89) Ba

367

5 mang-

1� pu-

2 6 gih

2 ba-

2� ji 3G

5 su-

3 ki

(93) Ba

:

5

3

5

3

(94) Ba

:

5

2

3

5

(95) Ba

:

1�

6

5

3

3� wa

2� lo-

Se : ·

3� Dhu-

5� lo-

3�

Appendix 2

368 (96) Ba

:

6

Si :

6 1� Ta- was

2�

5

3

·

1�

2G 6

Se : · · 2� 3� 5� (97) Ba

:

Si : (98) Ba

3 pi- :

6

6

6 tå,

·

3

5

Si : · (99) Ba

1� 5

3

1� 2� · Yo- mas 2

Si : 6 5 · ·

5 5 Go- nès

:

6

2

Se : · (101) Ba

:

1 5 Dhu-

6 wa

5

6

Si : ·

1� 2� Ka- wis

Se : · (102) Ba

:

5

1� 2� 3� lo- lo- lo- 3

2 2

6

1

(100) Ba

:

2� wèng,

5G yo-

6

6 wa-

1�

1 6 1� 6

3 5 dhu-

mas,

1�

2 1� lo-

1�

2� lo 6G

2� 3� 2� 1� pi-

6 tå,

2� 1� 3� 2� 1� 6 lo- lo- lo- lo- lo- wèng, 2

Si : · · 2� 3� ka- rå Se : · 3� 6 · É- lo

3

1� yak-

2� é

Music transcription Act 1 (103) Ba

:

6

Si : 2� nå Se : (104) Ba

1� 2� kèn- 3� ...

6 tir-

3 3 ing

2 to-

2G 1

2

1� 2� 6 3 5 3 lo-

2 ya,

5

3

2

3

Si : 2 yå,

·

·

·

·

Alok :

3� •

5� · é

5

6

3� •

5� · é

6

5

2

Si : · ·

6 6 Ay- wå

(105) Ba

:

5

369

:

Alok : (106) Ba

(107) Ba Si : (108) Ba

:

:

3� o

5� é

6 6 1� su- ma-

6 1� 6 5 rah

5

(109) Ba

:

6

Se : ·

2 6 Ngé-

6 tan

2� a

6 u-

6 was

6 lik

6 dèn 5G 2 mring 5

6̣

må,

3 6 ba-

3� o 6

3

Si : 6̣ 1 6̣ 1 hyang suk-

3� o 3

3� o

6

6

2� a

5

3

:

2

5� é

5̣

5 3� ngu-

2 lon

Appendix 2

370 (110) Ba

:

3

Se : (111) Ba

3� 2� a- pa- :

1 6 se-

3� dya-

5

3

Si : (112) Ba

:

5

Si : (113) Ba

3 5 nès :

Si : (114) Ba

2

1�

6

2 2� né

6 ke-

1� la-

3� kon,

5

3

1� 2� Go- nès

6 go-

3 5 3 2 2 wi- ca- ra-

5 5

5

3

5 · 6 né, Gang- :

6

5

:

Si :

5 ...

1� sa

3

Si : 2� 1� 6 ... (115) Ba

3G

2G 3 gå-

6 rå

6

6

1�

2

6

5

3

2

(116) Ba

:

3

5

6

5G

Si :

2� nang

2� ka

1� thit

2� nja-

6 jah

(117) Ba

:

6

1�

2�

1�

Si :

1� 6 dé-

5 sa,

·

Se : · ·

5 6 1� A- bang- é

6 lo-

1� lé

Music transcription Act 1 (118) Ba

:

Se : (119) Ba

2� Mbok :

Se : (120) Ba

2� 5 å-

5 3� Be-

:

1� 1� jå

3� 5 sok

6 2� cik

5

1� pra-

2� lé-

3

2� 3� [

2� ]

6 · la

1� yak-

:

Si :

1� 6 2� 2� [

5

Se : 3� 1� 2� 6 (122) Ba Si :

:

6 Lèr :

Se : (124) Ba

:

2� ki-

5 6 Lèr

2 a,]

1� lèr

2� ki-

2� ki-

3� lèr

5 2� ki-

5 5 Jer

6 ba-

6 lèr

1� 6

6 lèr

6 ] 2 ya,

2

2 yu-

2� é 2G

3 5 3 lo-

6

6

Si : ·

3

3

3 3 2 1 [på- dhå ra- ha-

Se : (123) Ba

5

6 jå,

2

(121) Ba

6

2� wa, 6G

2� 1� så-

3

3� É-

2� le-

2�

1�

Si : Se : ·

371

3

1� kom-

3 bang, 3

1� 6 3 kom- bang,

2

6

1�

5

Appendix 2

372 (125) Ba Si : (126) Ba

:

2 · su- :

Si : (127) Ba

2

(128) Ba

:

Se : (129) Ba

:

5̣

6 6 Bla-

6 rak 1

6 ce-

5

3� rak 3

Si : · · (130) Ba

:

Si : 3� (131) Ba

2

2� 1� 2� man né- man :

Si : (132) Ba

5

1� 5 3 5 né-

:

5G 1 bé-

·

3

5

3

5

·

2

3 3� 2� mah- é

6̣ wå

5

1 6̣

Se : ·

6

1 · 2 ki må-

6 6̣ a,

:

3

6 né- 6

2 3 · 5 man né- man,

6

5

Si : ·

6 1� Jal- må

6 di-

6 sam-

3� pir-

2� ké

2 2� 2� 6 o- ra ngam-

3G 1� pir-

3 ké,

5

3

1� 2� Né- man

1� né-

3

5

3 5 man

·

5

3

·

3 1� 2�

2G 1�

6

Music transcription Act 1 (133) Ba Si : (134) Ba

:

6

3 · wi- :

(135) Ba Si : (136) Ba

6 2 kan,

3

Si :

2 Si- :

:

1 ni-

2 så

6̣ 1 6̣ rå,

:

(138) Ba

5 Dhu-

5

Si : 1� 2� ra- ma Se : · :

1 brå-

Si : Se :

:

6 2� su-

1� 2� ki

3� 1� ...

6

5G

2

1 2 må a2

1G

3

2 ·

1�

·

6 wa

5 dhu-

6 wa

2� 3� ra- ma, 2� lo-

3� lo

2� lo-

3

3 É-

2� lo

1�

2�

1�

5

3 3� ba1� yak-

2 é

3 3 wå

6

2� 1� 6 lo- weng,

2� Jer

5

6G

1� lo

6 · lo

6 må-

1� lo-

1

Si : · ·

(139) Ba

2

6

6

5

Se : ·

1�

5̣

1

Si : · 5 5 Go- nès

(137) Ba

1

1�

2

Se : ·

·

5

6

6̣ ra-

373

3 bé-

2� 6 3 5 3 lo-

2G 212 2 ya,

Appendix 2

374 (140) Ba

:

Si :

2 a,

5

3

2

3

·

·

·

·

Alok I: · · (141) Ba

:

5

6

Alok I: ·

3� i

Alok II:

3� é,

3 a,

5 2� a

1� o

3 2� é

6 a

1� 3� o a,

5

2

6

Si : · ·

6 · Ba-

6

:

Si :

2� a

6 o

·

(143) Ba

3� é

1� o

·

:

2� a

2� é

·

(142) Ba

3� é

6 a

5 ki

2

3

2 ma

6̣ wa

1� su-

·

6

5G

1 cccc bé-

5̣ a,

(144) Ba

:

6

5

3

5

(145) Ba

:

6

2

3

5

Se : · (146) Ba

:

Se :

1� Pa-

2� · ra

3 6 a-

1

3� kèh

6 wis

5 ma-

1� pu-

2� tra

2 6 wèh

3G

2 ra-

5 har-

3 jå,

(147) [tempo slows upon signal, irama tanggung to irama dados] Ba : 5 3 5 Si : · · Dhodhogan:

·

·

·

·

x x · x ·

3

3� Ya ·

·

1� rå·

·

·

x

Music transcription Act 1 (148) Ba

:

5

Si : 2� (149) Ba

2

6 må :

375

3

3 5 3 ra- ma

1

3 2 né

6

:

6

Si : 3� tah (151) Ba

5

5

Se : (152) Ba

3� Si-

:

2G

5

2� 3� · ki- lèr

5

3� 3� da wan-

6̣ 3 3 2 1 2 2 un- tu ra- ngah,

6

6 · Lèr

3

3

3� 3� 5� 3� 2� 1� c ké- wan ban- yu :

2 5 dhé- wé,

5

Si : · · (150) Ba

5

3

2� 1� 2� 6 1� 3 ki- lèr ki- lèr kom- bang,

6

5

3

Si : · · · Se :

6 · Lèr

Dhodhogan:

·

xx

(153) [Dho = Dhodhogan] Ba : 1 · 1 ·

2� 3� · ki- lèr

x 3

· 3

· 1

· 2 ·

· ·

3 Ra-

2� 1� 2� 6 1� 3 ki- lèr ki- lèr k om-bang. ·

·

·

·

·

·

·

6

·

·

·

5G

Si : 2 1 2 2 2 2 2 2 1 1 2 6̣ 1 6̣ 5̣ må å-jå meng-eng am bras-tha ma-rang te-ba-ya Dho :

x

·

x

·

·

x

·

· x

·

·

x

·

·

·

xx

Appendix 2

376

(to Gendhing Bondhèt Banyumasan) Gendhing Bondhèt Banyumasan laras sléndro pathet nem t · 2 · 2 6̣ 1 2 3 6 5 3 2G* 2 2 1

t 6̣ 2

1

6̣

5̣



1

2

1

6̣

3

5

2

3

6

5

1

6̣

2

1

6̣

5̣N



2

2

·

3

6

5

3

2

3

2

1

6̣

2

1

6̣

5̣



1

2

1

6

5

3

2

3

6

5

1

6̣

2

1

6̣

5̣N



3

3

2

1

3

2

1

6

·

·

2�

1�

3�

2�

1�

6



·

·

6

6

2�

3�

2�

1�

3�

2�

6

5

1�

6

5

3N



5

6

5

3

5

6

5

3

1

2

1

6̣

3

5

2

3



1

2

3

1

3

2

1

6̣

2

2

5̣

3̣

5̣

6̣

3̣

5̣NG



2

2

·

3

6

5

3

2

2

2

1

6̣

2

1

6̣

5̣



1

2

1

6

3

5

2

3

6

5

1

6̣

2

1

6̣

5̣N



2

2

·

3

6

5

3

2

3

2

1

6̣

2

1

6̣

5̣



1

2

1

6

5

3

2

3

6

5

1

6̣

2

1

6̣

5̣N



3

3

2

1

3

2

1

6

·

·

2�

1�

3�

2�

1�

6



·

·

6

6

2�

3�

2�

1�

3�

2�

6

5

1�

6

5

3N



5

6

5

3

5

6

5

3

1

2

1

6̣

3

5

2

3



1

2

3

1

3

2

1

6̣

2

2

5̣

3̣

5̣

6̣

3̣

5̣NG

* [gamelan sirep (items 1-13)] Umpak minggah:& t t 232 · 2353 6 5 3 2 2 3 6 5 1�

t 6 5 3 2

t 1 6̣

N 5̣



2

3

5

2

·

3

6

5

2

3

5

2

·

3

5

6



2

1

2

6

2

1

2

6

3

5

6

1�

6

5

3

2



1�

5

1�

6�

1�

5

2

3�

[····2355 6 5 3 2

1

6̣

3̣

5̣NG

&Last two gatras (4-beat measures) of umpak minggah actually performed as follows: · · 2 3 5 5 · ·

6

5

3

2

·

1

·

6

·

3

·

5G

Music transcription Act 1

377

Inggah ciblon: t · 6̣ · 5̣ ·

t 3 · 2 ·

t 3 · 2 ·

t 6̣ ·

N 5̣



·

6̣

·

5̣

·

3

·

2

·

3

·

2

·

6̣

·

5̣



·

1�

·

6

·

1�

·

6

·

2�

·

1�

·

5

·

3



·

5

·

6

·

5

·

3

·

2�

·

3

·

6̣

·

5̣G

Gendhing Bondhet Banyumasan, laras sléndro pathet nem [Sindhènan, Senggakan] [Note: rhythm for sindhènan is only approximately indicated.] (1) [from Ayak-ayakan; Ba = Balungan; Si = Sindhènan; Dho = Dhodhogan] Ba

: 1

·

Si : · ·

1

·

3

3

1

2

2 1 · · må

2 å-

2 jå

Dho

: X

·

X

·

·

X

·

·

(2) Ba

: ·

·

·

6

·

·

·

5G

Si :

2 2 2 2 1 1 2 6̣ 1 6̣ meng- eng am- bras- thå ma- rang te- bå- yå

Dho

: X

·

·

X

·

·

·

(3) [Gendhing Bondhèt: tempo slows from irama tanggung to irama dados] Ba : · 2 · 2 6̣ 1 2 ·

XX

·

3

: ·

·

(4) Ba

:

6

Dho

: ·

·

(5) Ba

:

2

2

1

6̣

(6) Ba

:

2

1

6

5

·

X

·

XX

Dho

5

·

5̣

3 ·

·

Si : ·

XX 2G

·

1 Jal-

·

2 mèng

Appendix 2

378 (7) Ba

:

1

Si :

6̣ 2 jal- må

1 6̣ 1

(8) Ba

:

3

2

1

6̣

5

2

3

6̣ 5̣

Si : · 6 6 6 · \ 1� 6 \ 1� 1� · jal-må kang (9) Ba

:

6

Si : 6 \ 5 3 2 3 kon- cat- an ji-wå, (10) Ba

:

5 \ 5 3 \ 5 2

2

:

2

2

Si

:

6̣

5̣

(12) Ba

:

6

5

Si : · · 6 1� su- tèng :

3

2

Si : 3 6 5 3 2 · én- drå, (14) Ba : 2 Si : 6̣ 1 6̣ ·

1�

6

6

5N

2 1 1 6̣ 2 6̣ 1 ma-ti a- la- buh ne- gå- rå

(11) Ba

(13) Ba

·

3

1

Si : · 2 2 2 2 2 Wong pra-wi-rå

\ 1�

1 5 6 5 3 2 Pra-ja-né

·

3

3

2G

2�

1

1�

6

·

6

2 3 5 3 2 1� Yo mas yo mas, 6 2 5̣ si

5 2 6̣ 1 Bo- man- tå-

Music transcription Act 1 (15) Ba

:

Si : (16) Ba

1

2

1

6̣ 5̣ · rå, :

379

5

6

[1] 2 2 [Go-] nès go-

6

1

2

3

Si : 6̣ · 6 6 6 6 \ 1� 1� 1� \ 1� 6 1� nès, Sun wan-tå-rå la- mun (17) Ba

:

Si : (18) Ba

6

5

:

2

1

:

3

:

3

:

2 Go-

6

6

5

:

2 På-

·

2 2� 3� ngu-di-

2

·

6

3 1 2 rå mu-

·

3

Si : ·

3 3 nès go-

1

1

Si : 6 · · 6 6 dhå Yo mas (22) Ba

1�

2

2

Si : 1 1 · nès, (21) Ba

6 rå

2 2 1 1 6̣ was- trå kang tum-rap

3

Si : 2 6̣ 2 1 6̣ 5̣ · mus- tå- kå, (20) Ba

\ 1� si-

5 3 2 3 \ 5 3 \ 5 2 3 \ dar-bé tres- nå,

Si : · 2 2 2 2 · Te- pi was-trå (19) Ba

6̣

1

2 ·

5 3

1 5 6

1

· 2� 1� 2� · yå a-

·

1�

6 6 ngi-

5 ket

Appendix 2

380 (23) Ba

:

Si : 3 6 bå- (24) Ba

:

·

·

6 · · så, 2

3

Si : 1� 2� · · 3� 1� 2� Go- n as (25) Ba

:

3

2

Si : 2� · · 5 6 né, Té- jå (26) Ba

:

Si : 5 tå, (27) Ba

:

Si : (28) Ba

1�

6

[2 3 2 3 5 6 [Sa-yuk sa-yuk ru- kun 5 2 5 Go-nès

:

6

5

6 3 6 6 ga- nès 6

6 1� 6 tir-

Si : 6̣

5

5

3

2 1 2 6̣ 1 2 1 2 3 3] nyambut nyambut gawé,] 5

3

2 1 2 6̣ 2 3 3 wi- ca wi- ca- ra- né, 5

6 1� 6 5 6 · 3 At- må- jå nå- tå

3

5

5

Si : 3 · :

1

6 3 6 5 6 3 ga- nès wi- ca- ra-

· 6 1� 2� 1� 2� 6 Man é-man né-

(30) Ba

6 6 Yo mas

2

Si : · (29) Ba : 1

2

6

3 1� 6 man,

1

6̣ 1 2 1 Rah-wå-

2

3

6̣ · · 6 6 1� 2� 6 1� 6 5 nå, Kar- yå ru-

(31) Ba : 1 2 3 Si : · 6̣ 1 2 2 1 2 · 6̣ Go- nès nès nès wi-

5

3 jit, 1

5̣ 6̣ 1 ca- ra- né,

Music transcription Act 1 (32) Ba

:

3

2

1

Si : · · (33) Ba Si

: :

2

Si : · 2 2 Kar- yå (35) [tempo resumes] Ba : ·

2

Si : · 2 2 . Gan- dhes :

Si : (37) Ba

2 3 1 3 Kar- yå ru- jit, 5

3

6

3

5G

6 6 6 Ba- rat

:

2

1 1 6̣ 1 2 · 6̣ 1 6̣ 5̣ 5̣ ru- jit ing war- då- yå,

2 3

1

2

6̣

1

2

6̣

2 1

lu- wes

6 6 ma- dya

:

2

:

1

6 sri

·

3

3

lah- é 2

6 1� 2� 6 3 2 ma- ha Pra- bu Pan- cå1

1

Si : 6̣ 5̣ · ·

2

3

3

2

2

2

sak- so-

5

Si : · · (39) Ba

2 1�

2

Si : 1 2 2 · · 2 3 lå, Rå- må (38) Ba

6

6̣

(34) [tempo slows down for gong] Ba : 5

(36) Ba

381

6̣

1 2 rå- må,

1

6 1 2 [Gung

6̣ ke-

5 2 pé

1 1 2 · 6̣ Go- nès go-

6̣

1 ngin,] 6̣

2 1 nès,

6̣

Appendix 2

382 (40) Ba

:

3

5

2

3

Si : · 6 6 6 \ 1� 1� 6 · 6 \ 5 [

3 ]

(41) Ba

:

: \ Si 5 3 2 [ (42) Ba

:

6

5

1

6

1

6

5

3 ] 2

Si : · 2 2 2 2 2 2 Se- kar pi-sang pi-sang (43) Ba

:

2

1 16̣1 2 se- sa- ji

2

·

3

Si : 6̣ 5̣ · · 2 2 1 6̣ 1 2 yå, yo ra- (44) Ba

:

6

5

Si : · (45) Ba

:

(46) Ba

:

2

:

2

6̣

2 2 5 6 3 3 5 3 5 3 · Yo mas go- nès nè- nès nè- nès

3 5 2 2 3 wi- ca- ra- né

2

1

3 né,

1

Si : 6 · 2 2 Li- mu- (47) Ba

3

3 ma-

6 1� · 2� 1� 2� 1� 3� · 2� 1� 2� 1� 6 3 2 Pa- tut la- mun,

3

Si : 1 2 ·

6̣ 1 ing kar-

1 1 1 lu- tan

6 6 2 · ing sa-

2

Si : 6̣ 1 6̣ 5̣ · ·

1 1 2 Ra- dèn

5 6 2 1 så- må, 6

2 1 6̣ 6̣ ra- dèn,

Music transcription Act 1 (48) Ba

:

5

3

383

2

Si : · 6 6 6 \ 1� 1� 1� \ 1� 6 \ 1� Pi- sah krå- må lo- ro- (49) Ba : Si (50) Ba

:

1� 6 tan- é

5

1

6̣

1

6

5

\ 5 3 2 3 3 \ 5 2 3 li- sah klå- på, :

Si : (51) Ba

6

3

2

2 2 2 2 2 2 1 1 6̣ 2 6̣ [ :

3

3

2

1

Si : 1 · 6̣ 5̣ · 2 3 · 1 2 Go- nès go- (52) Ba

:

3

2

Si : 1 · · nès, (53) Ba

:

·

·

Si : 1 6̣ · · 6 1� 2� Yo ma s (54) Ba

:

3

Si : · (55) Ba

:

2 2� 3� Ju- luk

Si : · 6 \ 6 \ 1� Rå-

· 6 1� 6 må

1

2 6 3 yo mas 1

·

6̣

2 1 3 dhi- ri,

2� 1� 2� · 6 ing nå- tå

·

1

1 2 3 Wa- rih

2 ]

·

1 5 6

1�

6 5 3 6 6 Pan- dhå-w å,

6

6

·

·

Appendix 2

384 (56) Ba

:

Si :

6 1� 2� Mas,

(57) Ba

:

Si : (58) Ba

3 6 1� Go- as

. :

Si : (59) Ba

2

1

3

2

6 2� 3� · 6 5 3� 1� 1� ra- ma- ku dhé- wé, 2

6

3� 2� 3� 1� 2� 6 3 5 ga- nès nè- nès wi- ca 6

5

:

5

6

Si : · (61) Ba

:

1

Si : · 6 1� Da-di (62) Ba

:

3

6 6 1� Man é- 2

3 2 2 5 5 wi- ca- ra- né, 3

2 3 2 6 6 5 3 nyam- but nyambut ga- wé, 5

Si : · · 5 6 3 A-ngé- (60) Ba

5

5

2 3 2 5 5 6 Sa- yuk sa- yuk ru- kun :

1

6 nge-

3 5 ti,

3

5

1� 2� · 6 5 3 3 man né- man, 1

6 5 6 · 3 1 2 1 ku- su- ma-ning bang5

Si : 6̣ · · 5 6 så, A-ngé-

3

2 3 6 5 3 5 nge-

6̣ 6̣

3 3 ti,

(63) Ba : 1 2 3 1 Si : · 3 2 · 3 2 · 3 6̣ 2 1 Gan- dhès lu- wes sak- so- lah- é,

Music transcription Act 1 (64) Ba

:

3

385

2

1

6̣

Si : · · 2 3 5 3 · 2 1 A-ngé-nge-

6̣ ti,

(65) Ba

:

2

(66) [Dha = Dhalang] Ba : [5] Si

: A-

2

5

3

6

[3]

5G

2 2 2 2 2 2 ngé-nge-ti da- di ku-su-ma-

1 1 2 6̣ ning bang-

Dha : 2 2 2 2 2 2 · Dyan sem-bah-réng u-lun

1 6̣

2 2 2 2 2 2 ka- pur- bå ri- sang mur-

(67) Ba

: 2

Si

: 5̣ · · · · 6 1� · 2� 1� 3� 2� 1� 6 så, Wi- ku

3

2

·

2

3

5

Dha : · 2 · · · · · · bèng (68) Ba

:

Si : 2 tyå (69) Ba

2 1

:

2

2 rat,

:

Si :

:

5

·

·

3

2 3 di-

·

·

6

5

6

5

3

2

1�

2

Si : 5 3 5 2 wi- wi ta- (71) Ba

6

3

Si : · · (70) Ba

5̣

5 6 A- ran

·

1 6̣ 1 né bå-

2

1� 6 1� 6

·

6

5

1

6̣

2

3

5

2

5̣ så,

·

·

· ·

Dha : · ·

2 Ni-

2 ko-

2 nang

2 sing

Appendix 2

386 (72) Ba

:

Si :

1 [Kar

Dha : 2 da- (73) Ba

·

2 sih :

Si :

: :

6

Dha : (76) Ba

:

(78) Ba Si :

2� tan : 6 wå

2 bo-

2 gå

2 sa-

·

2

·

·

·

3

5

6

2� 3� · 1� 2� [

1�

2 we-

2 gung

5̣ rå,]

2

1

2

6

·

·

·

·

5 ko-

6 nang

6 a-

6 me-

6 mu-

2

6

·

·

·

3

5

6

1

3� wruh

· i

6

5

6 duk-

· si-

6

2� ng

1� 6 1� pur-

2�

2 2�

1�

3 6

5

]

6 jwèng,

1

· O...

Si :

5

6̣ · 2 bos- kå- ]

3

2

:

6

5

6 Dyan

Dha : (77) Ba

2 · wèh

·

Si :

Si

2 ma-

1 · 6̣ · [...

:

(75) Ba

2 · yå

2

Dha : (74) Ba

3

·

Music transcription Act 1 (79) Ba

:

Si : (80) Ba

1�

5

3 · nå . :

1�

:

(82) Ba

· :

1�

1� 2� Go-

6 Go- 2

5 nès 3

6

6

6 nès

5

Si : 2� · (81) Ba

387

1�

2 6 wi-

3

2 ca-

5

5

5 ra-

3 né

5

·

3

2

Si : · 6 1� 2 1� 6 3 [

3

Dha : 2 Du-

2 ta-

2 2 ning rat

2 ku-

(83) [tempo slows down to irama wilet] Ba : · Si :

·

·

1

·

6̣

2 · · · [ ]

Dha : (84) Ba

2 tå...

· ... :

Si : 1�

1

5 6 tan wruh-

6̣

·

3̣

6 ing

5 3 5 2 6 pur- wå duk-

· 1 6̣ 5̣ si-

[Continues with minggah of Bondhet in Solonese style (not transcribed)]

Srepegan Lasem in Solonese style laras sléndro pathet nem [after item 55] Buka kendhang : · b · b · b Balungan : · [2] · [3] · 5G Dhodhogan : x x · x x · x x · x x · x x · x x · etc.

]

· 5̣

5̣G 5̣ nå.

Appendix 2

388

P P P P P N N N N N N N N N N N 6 5 6

P N N 5 2

P N 3

N N 5 3G



5

1�

6

5

3

6

5

3

2G



3

2

3

2

3

5

6

5G



1

3

2

3

2

5

6

1�

6G

1� 6 5 3 2 3 2 1

3

2

6

5

3

2

3

5G

6

5

6

5

2

3

5

3G



1�

6

5

3

6

5

3

2G*

3

2

3

2

3

5

6

5G

5

3

3

5

5

3

3

5 2

5

2 1

2

3 2

3

5

5

* Suwuk, as follows: Balungan : Dhodhogan :

6 5 3 2G 3 5 6 5 3 6 3 2G x ·x x x · x x · x · x · x · x · · x · · · ·

Srepegan Lasem in Solonese style laras sléndro pathet nem [after item 86] Buka kendhang : · b · b · b Balungan : · [2] · [3] · 5G Dhodhogan : x x · x x · x x · x x · x x · x x · etc. P P P P P N N N N N N N N N N N

P N N

P N

N N

5 3 5 3 5 2 3 5

6 1�

5 6

6 5

5 3

2 6

3 5

5 3

3G 2G



3

2

3

2

3

5

6

5G



6

1�

2

1*

3

2

3

2

5

6

1�

6G



2

3

2

1

3

2

6

5

3

2

3

5G



6

5

6

5

2

3

5

3G



5

1�

6

5

3

6

5

3

2G

* [also played as: 2 1 2 1] ** [also played as: 1 6 1 6]

3

2

3

2

3

5

6

5G

1� 5

6 3

5 5

3** 3

5

2

3

Continues with Ayak-ayakan in Solonese style laras sléndro pathet nem

Music transcription Act 1

389

from Srepegan Lasem [after speed up]:

6

5

6

5

2

3

5

3G

5 3 5 3 5 2 3 5 Dhodhogan:

1� x

6 x

5 x

3 xx

2 x

3

5

6G

P N 6 ·

N 2� ·

N 1�P

Ayak-ayakan: P N N N · 5 ·

P N N 6 · 5 ·



·

3�

·

2�

·

6

·

5G



3

2

3

5

1�

6

5

6

5

3

5

6

3

5

3

2G*



5

6

5

3

5

6

5

3

2

1

2

6

2

1

2 3G&

5 6 5 3 2 1 3

· 2

· 6

· 5

·3

5G*



3

5

2

3

5G

3 .

2 .

3 .

5 .

3 .

2 .

3 .

5 .

2

3

5

3 2 3 5 1� 6 5 6 5 3 5 6 3 5 3 2G * Sirep (items 89-92) [tempo slows with signal and gamelan plays quietly at gong, shown below]: Balungan : 3 5 3 2G Dhodhogan: · · · · XX X · · ** Udhar [gamelan resumes normal volume at signal, slight speed up]: Balungan : 6 5 3 5G Dhodhogan: · X · · · · · & Suwuk [begins with signal at last gatra (four-beat measure) of line and continues with suwuk gongan, as follows]:

2 ·

3G X

5 6 1� 6 3 2 1

.6G



Balungan : Dhodhogan:

2 ·

1 X

··X··X·X·······X··X··X·X·········X···x·····XX··X················ Srepegan Lasem in Solonese style

laras sléndro pathet nem [after item 145]

Buka kendhang : · b · b · b Balungan : · [2] · [3] · 5G Dhodhogan : x x · x x · x x · x x · x x · x x · etc.

Appendix 2

390

P P P P P N N N N N N N N N N N 6 5 6

P N N 5 2

P N 3

N N 5 3G



5

1�

6

5

3

6

5

3

2G



3

2

3

2

3

5

6

5G



1

3

2

3

2

5

6

1�

6G

1� 6 5 3 2 3 2 1

3

2

6

5

3

2

3

5G*

6

5

6

5

2

3

5

3G



1�

6

5

3

6

5

3 2G&

3

2

3

2**

3

5

6

5

3

3

5

5

3

5 2

3

5

2 1

2

3 2

3

5

5



5G

* Sirep (items 146-149) [three knocks, similar to that in previous Ayak-ayakan] ** Udhar & Suwuk [for example, in this gatra, is as follows]: Balungan : 6 5 3 2G 3 5 6 5 3 6 3 2G Dhodhogan : x ·x· x x · x x · x · x · x · x · · x · · · ·

Srepegan Lasem in Solonese style laras sléndro pathet nem [after item 155, see version after item 55] Srepegan Lasem in Solonese style laras sléndro pathet nem [after item 171, see version after item 55] Ladrang Gléyong laras pélog pathet nem [after item 174] Buka bonang:

2

2

3

5

6

7

6

5

4

2

1

2

6̣G

2

t 3 2 1* 6

t 5 3

N 5 2

t 3 2 1P** 6̣

t 5̣ 3̣

N 5̣



2

·

·P

2

3

5

6

7

6

5

4P

2

1

2

6G

Ngelik:& · 6

6

6

5

3

2

3

·

3

5

6P

7

6

5

3



2

·

·P

2

3

5

6

7

6

5

4P

2

1

2

6̣G

Umpak: 2 3

2

1

6

5

3

5

2

3

2

1P

6̣

5̣

3̣

5̣



·

·P

2

3

5

6

7

6

5

4P

2

1

2

6G$

2

2

2

2

Music transcription Act 1

391

* Sirep (items 146-149) ** Udhar & Beginning at ngelik, banyakan treatment [slenthem and saron elaborate on the balungan]. $ To Ayak-ayakan in Solonese style, laras sléndro pathet nem, upon signal (in the last gatra of the piece), as follows: Balungan : 2 1 2 6G [malik (change to) sléndro] Dhodhogan: · xx · ·

Continues with Ayak-ayakan in Solonese style laras sléndro pathet nem P N N N · 5 ·

P N N 6 · 5 ·

P N 6 ·

N 2� ·

N 1�P



·

3�

·

2�

·

6

·

5G



3

2

3

5

1�

6

5

6

5

3

5

6

3

5

3

2G



5

6

5

3

5

6

5

3

2

1

2

6̣

2

1

2

3G



5

6

5

3

2

1

3

2

6̣

5̣

3̣

5̣G



3̣

2̣

3̣

5̣

2

3

5

3

5

2

3

5G&

& Suwuk [from gong, after signal]:

6

6

1�

6

2

1

2

6̣

3̣

2̣

3̣

5̣

Sampak in Solonese style laras sléndro pathet nem [after item 176] Buka kendhang : Balungan : Dhodhogan :

· t p p p p · · · 5G x xxxx · · · · ·



P P P P P P P P N N N N N N N N N N N N N N N N

5

5

5

2

2

2

2G



6

6

6

6

5

5

5

5G



1

1

1

1

2

2

2

2

6

6

6

6G



1

1

1

1

2

2

2

2

5

5

5

5G



5

5

5

5

3

3

3

3G



5

5

5

5

2

2

2

2G*

6

6

6

6

5

5

5

5G

3

3

3

3

3

3

3

3

3

P P P P N N N N N N N N 3 3 3 3G

5

3

3

P P P P N N N N N N N N 5 5 5 5

3



Appendix 2

392

* Suwuk [from gong, after signal]: Balungan : Dhodhogan :

2 2 2 2G x · · x · · x · · x · · x

2 2 2 2G · ·x · · · x · · x · · etc.

Sampak in Solonese style laras sléndro pathet nem [with Palaran Gambuh] [after item 184] Buka kendhang : · t p p p p Balungan : · · · 5G Dhodhogan : x x x · · · · · ·



P P P P N N N N N N N N

P P P P N N N N N N N N

3 3 3 3

P P P P N N N N N N N N

5 5 5

5 3 3

3

3G*

5 5 5

5 2 2

2

2G

6 6 6 6 5 5 * Continues with palaran, after signal: Balungan : 3 3 3 3G 6 2 Dhodhogan : x x · · · ·

5

5G

Continues with Palaran Gambuh 2� 2� 2� 1� 1�-61�2�* 2� 6 2�-1�61�6 Si- grå can- cut gu- mre- gut, 3 3 35 3-5-32 2� 3� 2� 1�-62� 6 2�-3�2�1�-61�6 Ngem- bat wa- tang ngre- but a- prang pu- puh, 2 212 6̣ 3-5232** 2 2 5 5 532 235-65 2-6̣ 1-6̣5̣ Tang- keb ja- ja kan- ta- ran ba- u sa- yek- ti, 2 2 2 212 3 1 2 3-52-3232 Si- nga- lé- nå prap- tèng lam- pus, * Sirep (item 187) [no signal from dhalang] ** Udhar [kombangan on pitch 2] Balungan

:

2 3 5 5 532 3-56 6�1�2�16 3-2 Si- nga- lé- nå ma- ti kla- kon.

2G

3 5 6G · ·

Music transcription Act 1

393

Continues with Srepegan Lasem in Solonese style laras sléndro pathet nem P P P P P N N N N N N N N N N N 3 2 3

P N N 2 3

P N 5

N N 6 5G



6

5

6

5

2

3

5

3G



1�

6

5

3

6

5

3

2G*



3

2

3

2

3

5

6

5G

* Suwuk [from gong]:

3

5

6

5

3

6

3

2G

5

3

5

3

5

2

3

5

Sampak in Solonese style laras sléndro pathet nem [after item 192, see version after item 176] Sampak in Solonese style laras sléndro pathet nem [with Palaran Sinom] [after item 198] Buka kendhang: · t p p p p Balungan : · · · 5G Dhodhogan : x x x · · · · · ·



P P P P N N N N N N N N

P P P P N N N N N N N N

P P P P N N N N N N N N



5

5

5

5

3

3

3

3G*



5

5

5

5

2

2

2

2G

6

6

6

5

5

5

5G

5 x

5 ·

5G ·

6 ·

2 ·

3 5 6G · ·

3

3

3

3

6 * Continues with palaran, after signal: Balungan : 5 Dhodhogan : x

Continues with Palaran Sinom 6 1� 2� 2� 2� 2� 2� 1�-2�1�2� Si- grå kang bå- lå tu- mi- ngal, 2� 2� 2� 2� 16 1�-2� 65 1�-6-65 Ka- cam- puh sam- yå me- da- li, 2� 2� 2� 2�1� 1� 1�61�2� 6 2�-1�61�6 Lir tha- thit wi- let- ing gå- ndå

Appendix 2

394

6 6 61�6 5-356 5 3 353 3-121 Da- nyang gung ma- ngun- cang ni- ti, 1� 1� 1� 2� 3 1�62� 2�1�-6 Mbén- jang sang a- ji mi- jil, 6 1� 2� 2� 1� 1�-2�1�6 3-25 3-232 La- thi- nyå me- dal- ing wu- wus, 6 6 6 1� 2� 2�6 2�1�-6 Mbras- thå su- rå- wi- lå- gå, 6 6 6-1�6 5-356 5 3 353 2-121 Kå- yå bu- tå si- ngå wre- gil, Balungan :

2G

2� 3� 1�62�1� 1�6 6 1� 2� 2� 2�1�6 1�2�1�6 325 323-2 Pas- thi jå- nggå dhen- dhå- nyå ma- ngam- bak bå- yå,

Continues with Srepegan Lasem in Solonese style laras sléndro pathet nem P P P P N N N N N N N N

P P N N N N 3 2 3 2*

P N N 3 5

P N N 6 5G

5 3 5 3 5 2 3 5

6 1

5 6

6 5

5 3

2 6

3 5

5 3G 3 2G**



3

2

3

2

3

5

6

5G

* gamelan sirep (item 199) [no signal from dhalang] ** sampak (and udhar) from gong [after signal, as follows]: Balungan : Dhodhogan :

6 5 3 2G [to sampak] · x x xx· ·

Continues with Sampak in Solonese style laras sléndro pathet nem

P P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N [from srepegan]: 6 6 6 6 5 5 5 5G



5

5

5

5

3

3

3

3G



5

5

5

5

2

2

2

2G*

6

6

6

6

5

5

5

5G

:

2

2

2

2G

3

3

3

3



* Suwuk

Music transcription Act 1

395

Sampak in Solonese style laras sléndro pathet nem [after item 204, see version after item 176] Sampak in Solonese style laras sléndro pathet nem [after item 209, see version after item 176] Sampak in Solonese style laras sléndro pathet nem [after item 220, see version after item 176] Sampak in Solonese style laras sléndro pathet nem [after item 221, see version after item 176] Srepegan Lasem Mataraman laras sléndro pathet nem [after item 230] Buka kendhang: p ß o · Balungan : · 2 3 5G Dhodhogan : xx··xx··x · · · · · · P P P P P N N N N N N N N N N N 6 5 6 5 6

P N N 5 2

P N 3

N N 5 6G



1�

6

1�

6

3

2

5

3

2

1

2

1G



5

3

2

1

3

5

6

5

2

3

5

6G



1�

6

1�

6

3

6

1

2

6

5

3

2G



5

6

5

3

6

5

2

6

2

3

6

5G



1

2

3

2

5

3

2

3G



1�

6

5

3

6

5

3

2G

6

6

1

2

3

5

6

5G



2

1

2

1G



2

1

3

2

5

6

1�

6G



5

3

5

3

6

5

3

2G

Suwuk:

1

1

2

3

5

6

1�

6G

5 5

3 3

2 5

3 3

5

2

3

5



Appendix 2

396

Senggakan Srepegan Lasem Mataraman laras sléndro pathet nem (1) Balungan :

6

Senggakan : 2� Jlo-

6 la

(2) Balungan :

6

5

Senggakan : ·

5 5 pa- ra pu- tri

(3) Balungan : Senggakan : 3 sing (4) Balungan : Alok : (5) Balungan : Alok

:

(6) Balungan :

5

2 3 5 · 2� 6 · jo la- li jlo- la

2 5 ge-

5

6 mi

3 la-

3� o-

3

2

2� Dhu-

2� wa

2

1

2 3 5 jo- la- li,

5 5 wan

6 2� lo-

5

5

3

1� 1� Wa

6

3 nas-

6G 2 ti-

1� 1� o-

2� o-

6 1� o-

5

2 3� o-

5� 3� o- o-

6 wèng, 3

3� 5� lo-

Alok : · ·

6 ti,

3� o1G

2� o-

1� wèng,

(7) Balungan :

5

3

2

1

(8) Balungan :

3

5

6

5

(9) Balungan :

2

3

5

6G

Alok

2 a

2� · o

:

5� o

2� o

1� o

6 é

Music transcription Act 1

397

(10) Balungan :

1

6

1

6

(11) Balungan :

3

6

5

3

Alok : ·

3 Dhu-

6 wa

1� 2� lo-

(12) Balungan :

6

Alok

2� 1� 6 5 3 o-

:

5

3 lo

3

2G 2 wèng,

(13) Balungan :

5

3

Alok : 5 é

3� o

5� · é

(14) Balungan :

5

6

Alok :

3� o

5� · é

(15) Balungan :

6

5

2

6

(16) Balungan :

2

3

6

5G

(17) Balungan :

1

2

3

2

Senggakan : (18) Balungan :

6 Pring 5

Senggakan : 3� 2� på- dhå (19) Balungan :

6 a-

5

6 ri

2 5� é

3� di 3

3� o

2� a

3� o

5 5� é

6 nggo

3 6 ngu-

3

3� o

6 su-

3 5� é

3� o

3� li-

2 2� ke-

6 pin- 5

2� a

3� o

2� ngan, 3G

5 te-

3 ran, 3

Appendix 2

398 (20) Balungan :

5

2

3

5G

(21) Balungan :

1�

6

5

3

Alok : · (22) Balungan :

3 Dhu-

6

3 wa 5

Alok : · · (23) Balungan :

6

(24) Balungan :

3

2

Senggakan : · (26) Balungan :

(27) Balungan :

(28) Balungan :

5 A-

5 a-

6 na-

6 Dhå

1� ka- 3

3� Ma-

2

2� lo-

5� lo-

6

5G

5� o-

5 wèng

2

1G

3� bur

6 Ba-

6 jo

1� ka-

1� la-

3� ra

2� li 6G

2� 1� 6 ri- ngan,

5 3� wi-

1� ngun 2

  6 ring

2 wèng,

1�

3 5 ké

3 lo 2G

6 5 3 o-

6 1� · yo

6

5

Senggakan : ·

5� o-

1

5

Senggakan : ·

2� Wa-

1

2

Senggakan : ·

3 o-

5

Alok : · · (25) Balungan :

3

6

Alok :

3 5 lo-

3 1� wi-

2� ri,

Music transcription Act 1 (29) Balungan :

6

Senggakan : 1� [

2� ]

(30) Balungan :

5

Senggakan :

5 6 ngé-

3 tan

(31) Balungan : Senggakan : 5 Ma-

5

(32) Balungan :

6

5

Senggakan :

6 Dha

5 ka-

(33) Balungan :

2

3

(34) Balungan :

(35) Balungan :

Senggakan :

2 É-

5 3 3 [Sa- ba-

6 cé-

6 blak

6 ple-

6 par

5 ple-

6̣ ngan, 5G

6̣ ma-

5̣ nèh, 2

3 to-

1 bil.

2

3G

5 3 a-

3 wé

5 3 2 a- ngre-

3 per, 6

3

6 g

3 blok, 3

6

3 3 · rang

5 cé-

3 5 3 la-

2 · é

2 lon, 3

2

1 · pul

1 sa

3 ngu-

5

3 6 Bi-

5 li

2G

2

2

5

Senggakan : 2 · (36) Balungan :

2 kum-

1

Senggakan : ·

6 ba-

6

5 5 bur

Senggakan : ·

3

3

5 5 · Mén- cok

399

6 sep-

3 5 a-

3 ké,]

Appendix 2

400 (37) Balungan :

5

2

Senggakan : · (38) Balungan :

1� me-

2� ma-

1� 2 wis

5

3 5 se-

6

5 ngguh,

5

Senggakan : 6 1� 2� tan-

6 duk-

5

6 1� 6 ni-

6

Senggakan : · (39) Balungan :

3

3 6

3

3 2 ing

5 sé,

3 2 ga-

·

2G 2 wé.

(40) [Suwuk] Balungan : 1

1

2

3

(41) Balungan :

6

1�

6G

5

Srepegan Tegalan laras sléndro pathet nem [after item 242] Buka saron barung : · · · · 61�2� Dhodhogan : xx xx x

2� · 6 5 3 2 1 2G

N

P N N

P P N N N N

N



3 1�

1 6

2 1�

3 6

5 3

6 5

1� 6

6G 5G



2

3

5

3

5

6

1�

6G*



1�

6

1�

6

3

5

2

3G



5

3

5

3

6

5

3

2G

*Suwuk:

1�

6

1�

6

3

2

1

6̣G

Téjanata gendhing kethuk kalih kerep minggah Ladrang Playon laras pélog pathet lima [after item 245]

Music transcription Act 1

401

Buka rebab: · 3 · 3 · 2 · 1 · 6̣ 1 2 6̣ 1 2 1G t · 2 3 3 · 1 2 1 · 2 3

t 3 · 1 2

N 1



3

3

·

·

3

3

5

3

6

5

3

5

3

2

1

2



·

·

2

·

2

2

1

2

3

3

·

·

1

2

3

2



1

1

·

·

5̣

6̣

1

2

1

3

1

2

·

1

6̣

5̣G



·

6̣

2

1

·

6̣

5̣ ·

5̣

6̣

2

1

·

6̣

3̣

5̣



3

3

·

·

3

3

5

3

6

5

3

5

3

2

1

2



·

·

2

·

2

2

1

2

3

3

·

·

1

2

3

2



1

1

·

·

5̣

6̣

1

2

1

3

1

2

·

1

6̣

5̣G



·

2

3

3

·

1

2

1

·

2

3

3

·

1

2

1



3

3

·

·

3

3

5

3

6

5

3

5

3

2

1

2



·

·

2

·

2

2

1

2

3

3

·

·

1

2

3

2



1

1

·

·

5̣

6̣

1

2

1

3

1

2

·

1

6̣

5̣G



·

6̣

2

1

·

6̣

5̣

·

5̣

6̣

2

1

·

6̣

3̣

5̣



3

3

·

·

3

3

5

3

6

5

3

5

3

2

1

2*

Dhodhogan:

x



· ·

· 2 · x ·

· x

2 ·

2 ·

1 ·

2 ·

3 ·

3 x

· ·

· ·

1 2 x · ·

3 ·

2 x



1 . ·

1 . ·

· . x

5̣

6̣

1

2

1

3

1

2

·

1

6̣

5̣G

x

·

·

x

x

x

·

x

x

·

·

xxx

*

[gamelan speeds up]

[Ngelik gongan]: · 6̣ 2 1 · 6̣ 5̣ [ngeter (in fast triplets)]

· ...

5̣ x

6̣ x

2 x

1 x

· 6̣ xx x

3̣

5̣ &



1�

1�

·

·

1�

1�

2�

1�

3�

2�

1�

2�

·

1�

6

5



·

·

5

·

5

5

·

·

5

5

·

6

4

5

6

5



4

4

·

·

1

2

4

5

4

6

4

5

·

4

2

1G

· . ·

& [gamelan sirep] (items 246-251)

Appendix 2

402 [tempo speeds up gradually]: · 2 3 3 · 1

2

1

·

2

3

3

·

1

2

1



3

3

·

·

3

3

5

3

6

5

3

5

3

2

1

2



·

·

2

·

2

2

1

2

3

3

·

·

1

2

3

2



1

1

·

·

5̣

6̣

1

2

1

3

1

2

·

1

6̣

5̣G

Ladrang Playon Ngelik: t 6 5 4 2* 1

t 2 4

N 5 6

t 5 4 2P 1

t 2 4

N 5



6

5

4

2P

1

2

3

2

6

6

·

7P

2

4

6

5G



·

6

5

4

2

2

1

2

·

·

2

4P

1

2

4

5



6

5

4

2P

1

6̣

4̣

5̣

·

6̣

1

2P

1

6̣

4̣

5̣G

*

[udhar]

Ompak: · 6̣

1

2

1

6̣

4̣

5̣

3

3

6

5P

3

2

1

6



1 .

2P .

3 .

2 .

1 .

2 .

1

6̣

5̣

4̣P

2

4̣

6̣

5̣G

5̣ .

6̣ .

Srepegan Lasem Mataraman laras pélog pathet nem [after item 275] Buka kendhang : · p ß o · Balungan : · 2 3 5G Dhodhogan : xx··xx·· x · · · · · · P P P P P N N N N N N N N N N N 6 5 6 5 6

P N N 5 2

P N 3

N N 5 6G



5

6

5

6

3

2

5

3

2

1

2

1G



5

3

2

1

3

5

6

5

2

3

5

6G



5

6

5

6

3

6

5

3

6

5

3

2G



5

6

5

3

6

5

2

6

5

4

6

5G



1

2

3

2

5

3

2

3G



3

6

5

3

6

5

3

2G

5 5

6 3

5 5

3 3

5

2

3

5

Music transcription Act 1



3

5

6

5G



2

1

2

1G



2

1

3

2

5

6

5

6G



5

3

2

3

6

5

3

2G



6

5

2

6

5

4

6

5G

2

1

2

3

5

6

1

6G

5

6

5

3

5

6

5

6

3

Suwuk:

6

1

403

2

Senggakan Srepegan Lasem Mataraman laras pélog pathet nem Buka kendhang: · p l d · P · · 2 3 5G (1) Balungan :

6

5

Senggakan : 2 Jlo-

6 la

2 3 5 jo- la- li

(2) Balungan :

6

5

Senggakan : ·

5 5 5 5 pa- ra pu- tri

(3) Balungan Senggakan : 1� sing (4) Balungan : Alok :

2 2� wa-

2 jlo-

3 3� ni

5 1 [o

6

1� 2� 6 la- wan

3 é

2 3 5 jo- la- li,

5

6 2 o

6 · la

5

5 nas-

6G 2 ti-

6 ti,

5 2 é

1 2 o

6 1

6 wèng]

(5) Balungan :

3

2

5

3

(6) Balungan :

2

1

2

1G

(7) Balungan :

5

3

2

1

Appendix 2

404 (8) Balungan :

3

5

6

5

(9) Balungan :

2

3

5

6

Alok :

1� [Wa

2� lo

3 é

2� é

1� 3� 2� 1� 6 o wèng]

(10) Balungan :

5

6

5

6

(11) Balungan :

3

6

5

3

Senggakan : · (12) Balungan :

3 É

6

6 · lo 5

Alok : 3� 2� 6 ·

1� yak

2� é

3

2

5 3 2 3 5 2 lo- ya

(13) Balungan :

5

Alok :

[3] [o]

(14) Balungan :

5

6

Alok :

3 o

4 · é

(15) Balungan :

6

5

2

6

(16) Balungan

:

5

4

6

5G

(17) Balungan

:

1

2

3

2

Senggakan :

6 4 · é

6 6 Mbang dhong-

6 dhong

5 4 é

3

3 o

2 a

3 o

5 4 é

6 me-

3 o

6 kar

3 4 é

3 o

3� so-

2 a

3 o

2� ré,

Music transcription Act 1 (18) Balungan : Senggakan :

5 3� 2� Go- tong

3 6 ro-

3� yong

405

2 2� nyam-

6 but

3G 5 ga-

3 wé,

(19) Balungan :

5

3

5

3

(20) Balungan :

5

2

3

5

(21) Balungan :

3

6

5

3

Alok : · (22) Balungan : Alok :

3 É

6

6 · la 5

1� [yak

3

2� é] 2G

6 1� 6 5 · 5 6 5 3 1 [

2

]

(23) Balungan :

6

6

1

2

(24) Balungan :

3

5

6

5G

(25) Balungan :

6

1

2

1G

Senggakan : · (26) Balungan :

2

Senggakan : · (27) Balungan :

5 Pa-

5

Senggakan : ·

6 1� · ra 1

5 a-

6 ja

3 5 pa-

6 5 La- dos-

6 Pu-

6 dha

2 1� we-

5 6 ing

5 ne-

1� tri

2� di, 6G

1� ga-

6 ri,

Appendix 2

406 (28) Balungan :

5

Senggakan : · (29) Balungan :

Senggakan : (31) Balungan :

3� Dha-

6 Ma-

3 nem-

5

5

6

Senggakan :

6 si-

(33) Balungan :

5

3� a-

3� ti

6 bah

5 Hyang

1� lan

6 sing

1� a-

6 pe-

5 6 nu-

1 se-

3 Wi-

2 dhi 3

5 é-

3 ling 3

5 pa-

2 2 1 jud-

4

2� ci, 2G

5

5

2 3 mring

1� su-

5

6 5 · ti

3

3

6

5 5 · sa- yuk

(32) Balungan :

2

5

Senggakan : 5 5 mring Gus-

Senggakan :

3� sar

6

Senggakan : 1� · (30) Balungan :

3

6 2 1 6̣ sa-

3 ring 6 6̣ an 5G 5̣ mi.

(34) Balungan :

2

1

2

3

(35) Balungan

5

6

1

6G

:

Srepegan Lasem in Solonese style laras pélog pathet nem [after item 301] Buka kendhang Balungan Dhodhogan

: · b : · : xx··xx···

b · x

b 5G

Music transcription Act 1

407



6

5

6

5

2

3

5

3G



2

3

5

3

6

5

3

2G



3

2

3

2

3

5

6

5G



2

1

2

1

3

2

3

2

5

6

5

6G



2

3

2

1

3

2

6

5

4

2

4

5G



6

5

6

5

2

3

5

3G



2

3

5

3**

6

5

3

2G*



3

2

3

2

3

5

6

5G

*Suwuk (from gong):

3

5

6

5

3

6

3

2G

3 6 x etc.

3

2G

5

5 5

3

6 3

5

5 5

3

6 3

Suwuk signal: Balungan : Dhodhogan :

5

5

6 x

2

2

3

3

5 3 x x x

** [sometimes also played as

2

5

5

2G 3 5 6 5 X X · x · X · x · 3

5

3]

Srepegan Lasem in Solonese style laras pélog pathet nem [after item 317, see version after item 301] Srepegan Lasem in Solonese style laras pélog pathet nem [after item 328, see version after item 301] Srepegan Lasem Mataraman laras pélog pathet nem [after item 370, see version after item 275] Srepegan Lasem Mataraman laras pélog pathet nem [after item 376, see version after item 275] Srepegan Lasem Mataraman laras sléndro pathet nem [after item 404]

Buka kendhang : · p Balungan : · Dhodhogan : xx · x ·

ß o 2 3 x · · ·

· 5G ·

P P P P P N N N N N N N N N N N

P N N

P N

N N

Appendix 2

408

6

5

6

5

6

5

2

3

5

6G



1�

6

1�

6

3

2

5

3

2

1

2

1G



5

3

2

1

3

5

6

5

2

3

5

6G



1�

6

1�

6

3

6

1�

2

6

5

3

2G*



5

6

5

3

6

5

2

6

2

3

6 5G&



1

2

3

2

5

3

2

3G

3$

1�

6

5

3

6

5

3

2G

6

6

1�

2

3

5

6

5G



2

1

2

1G



2

1

3

2

5

6

1� 6G**

* [gamelan sirep] (items 406-411) ** [udhar] & Suwuk (from gong):

5

3

2

3

6

5

3

2G



1

1

2

3

5

6

1�

6G



5 5

3 3

2 5

3

5

2

3

5



$ At one point both bonang (panerus and barung) briefly switch from Solonese/ Yogyanese pipilan (‘walking’ style) playing to Banyumas style, as follows: Bal: 5 3 5 3 5 2 3 5 etc. Bb: 5 3 5 3 3 · 3 · 3 · 3 · 5 · 5 · 5 · 5 · 5 · 5 · 5 · 5 · etc. 3 3 3 3 5 5 5 5 5 5 5 5 Bp: 5 3 5 · 5 3 5 3 · 5 · 5 · 5 · 3 · 6 · 6 · 6 · 5 · 6 · 6 · 6 · 5 etc. 5 5 5 3 6 6 6 5 6 6 6 5 Pipilan‑‑‑‑‑‑‑‑‑‑‑‑‑| Banyumas style‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑------------------------------------‑‑‑‑‑‑‑‑| Key: Bal = Balungan, Bb = Bonang barung, Bp = Bonang panerus

Srepegan Dugangan Banyumasan laras sléndro pathet nem [after item 489] Buka kendhang : d Balungan : Dhodhogan : XX·XX··X

b pLd d d · · 2 3 6 5G x

P P P P P N N N N N N N N N N

N

N

Music transcription Act 1

409



6

5

6

5

6

3

6

3G



6

5

6

5

6 3

6

2G*

6

2

6

2

6 5

6

5G

6

2

2

6

2G

6

3

6

3



*Suwuk (from gong):

6

Senggakan/Alok Srepegan Dugangan Bayumasan laras sléndro pathet nem (1) Balungan :

6

5

6

5

(2) Balungan :

6

3

6

3G

Sindhènan :

· Go-

2

1

(3) Balungan :

6

3

6

3

5

6

5

2� Wa-

3� lo-

5� lo

3

6

2G

2�

1�

6

Sindhènan : (4) Balungan :

6̣

1

1 nès...

2

6

Alok : (5) Balungan :

6

Sindhènan :

6 Wi-

1� ting...

3

Alok : ·

3� · 6 o

(6) Balungan :

2

6

Sindhènan : 3 kla-

3 pa

6

2

2� wèng 2

1

2

Appendix 2

410 (7) Balungan :

6

Sindhènan : · (8) Balungan :

2 Rå-

6

Sindhènan : ·

6

3 må...

2

5

6

6 Man

(9) Balungan :

6

Sindhènan :

2� 1� é

Alok :

3� é

2� a

5

1� é

3

6 o

3

2� man

6 1� 2� é

1� a

5

5 6 6 é man

6

2� 1� man 3� é

5G

3G 6

5

3

6 o

3� é

(10) Balungan :

6

3

6

3

(11) Balungan :

6

5

6

5

3� lå-

2� på

6 kang

Sindhènan : ·

2� Ke-

Alok : · · (12) Balungan :

6

Sindhènan : 5� · 2 6 Tak-

2� Wa-

3 lo-

5� lo-

3

6

2G

3 sih

·

·

Alok :

2� · · 5� 2� o- wèng

(13) Balungan :

6

2

6 dhå,

·

(14) Balungan :

6

5

Sindhènan :

1� Ra-

Sindhènan : 5 mu-

5� ma

1� ra-

6 3

2

2

6 5� ma

·

5G 6

5

Music transcription Act 1 (15) Balungan :

6

Senggakan : · (16) Balungan :

5 2 Sa-

6

Senggakan : · (17) Balungan :

3 yuk

3� but

6

3

Sindhènan : ·

1� Ya

(18) Balungan :

5

6

Sindhènan : · · (19) Balungan :

6 2 sa-

3 2� nyam-

6

2

411

3 yuk

5 5 ru-

6 2� nyam-

6

6 but

3G 5 ga-

3

1� ra-

3 ma

6

5

6 6 6 6 6 Sa- lu- gu na- ngan 6

Alok : 31�

· 5� O-

Sindhènan : (21) Balungan :

2 jå

2 man

Sindhènan :

2 1 é- man

(22) Balungan :

6

2 2 é-

6

Sindhènan : 2 1 ...

6̣

1 6̣ é 5

1 har-

6

2 · man 5

5̣

2 ra-

2G

3 kir

6

3 wé

6

Sindhènan : 6 1 2 mar- di pi

(20) Balungan :

6 kun

6

2�

wèng 2

3 é-

6 2 man...

2

5 man 5G

1

5

Appendix 2

412 (23) Balungan :

6

Sindhènan : · Alok :

3� a

(24) Balungan :

6

Sindhènan :

3 5 Jar- 5� é

6

6 · wå 2� o

5� é

3

Alok : (27) Balungan :

6 wrek-

3� o 3

6

3 så 5

1� så

·

2� o...

3�

5�

6̣

3

6

2G

2 tum-

3 rap

3 mus-

3 2 tå-

2� 1� o

6 a

6

2

6

Sindhènan : ·

6 2� Go-

Alok : ·

2 O..

(28) Balungan : 6 Sindhènan : · Alok :

2� a

· 1� 6 5 3 . . .

Alok : ·

Sindhènan : 6 kang

3� o

6 wrek-

6

(25) Balungan : 6 5 Sindhènan : · ·

(26) Balungan :

3G

1� \ o

5 ca-

6 \

5

1� é

6 5 3 nès ga- nès

5 3 wi-

2 kå,

6 3 wi-

2 3 ca- ra- ·

2� o 2 5

5G 5 né, ·

Music transcription Act 1 (29) Balungan :

6

5

Sindhènan : · (30) Balungan : Sindhènan : (31) Balungan :

Sindhènan : 2 jå,

3

6

6

1�

2�

6

3

3G 1 ]

6

3

6

5

5 a

5 5 da- di

3

6

2G

2� sa-

6 ka-

2

6

5 6 5 3 [... wa]

6

5 5 Ra-

2 ha-

6

Sindhènan : · (34) Balungan :

1� ma

5

2� 6 2� 1� 2� 6 [

Sindhènan : · (33) Balungan :

6

6 Ra-

6

Sindhènan : · (32) Balungan :

413

1� pu-

6

2 yu-

2 2 2 · la- lé- la

(35) Balungan :

6

5

Sindhènan : 2 lé-

1 la

2 1 · lé

(36) Balungan :

6

5

3 ning

2 prå2

5 lé-

5 la

3

6 2 la...

·

5

5G 1

2

6̣

1

6

5

Sindhènan :

· ...

Dhodhogan :

[ngeter].........................

x

6̣

5̣

Appendix 2

414 (37) [Speed up] Balungan :

6

3

Sindhènan : · Dhodhogan :

X

(38) Balungan :

6

5 [Dre-

6

6 · nging]

3

6

3

6

5

6 cip-

1� ta-

3

6

2G

2� pan-

6 dhi-

3 tå

2

6

2

3 tå

5

6

Sindhènan : · (41) Balungan : Sindhènan :

5

6

Sindhènan : · · (40) Balungan :

6 cip-

x

Sindhènan : · · (39) Balungan :

3G

6 né

6

3 2 · tå-

2 må.

(42) Balungan :

6

5

6

5G

(43) Balungan :

6

5

6

5

(44) Balungan :

6

3

6

3G

(45) Balungan :

6

3

6

3

(46) Balungan :

6

5

6

5

(47) [to suwuk] Balungan :

6

3

6

2G

Dhodhogan :

X

·

·

X

·

·

X

·

·

X

·

·

X

Music transcription Act 1 (48) Balungan : Dhodhogan :

6 ·

2

X ·

(49) Balungan :

415

·

X

·

6

6

·

X

X

·

X

2 [ngeter]

2G

Srepegan Lasem Mataraman laras sléndro pathet nem [after item 491] Buka kendhang : · · p ß o · Balungan : · 2 3 5G Dhodhogan : xx·xx · x · x · · P P P P P N N N N N N N N N N N 6 5 6 5 6

P N N 5 2

P N 3

N N 5 6G



1�

6

1�

6

3

2

5

3

2

1

2

1G



5

3

2

1

3

5

6

5

2

3

5

6G



1�

6

1�

6

3

6

1�

2

6

5

3

2G



5

6

5

3

6

5

2

6

2

3

6 5G&



1

2

3

2

5

3

2

3G



1�

6

5

3

6

5

3

2G

6

6

1�

2

3

5

6

5G



2

1

2

1G



2

1

3

2

5

6

1� 6G**



5

3

2

3

6

5

3

2G

1�

6G

5 5

3 3

2 5

3 3*

5

2

3

5



* **

gamelan sirep (item 492) and tempo slows down to rangkep (doubled) udhar at beginning of gatra

&

Suwuk (from gong):

2

For cakapan (vocal parts), see earlier versions.

1

2

3

5

6

Appendix 2

416

Sampak Lasem in Solonese style laras sléndro pathet nem [with palaran Asmaradana laras miring] [after item 497] Buka kendhang : · t p p p p Balungan : · · · 5G Dhodhogan : x x xxxx · · · · · P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5 3 3 3 3G 3 3 3 3 5 5 5 5 2 2 2 2G* 6 6 6 6 5 5 5 5G * [to palaran, as follows]: Balungan Kendhang Dhodhogan

: 2 2 2 2G 6 2 3 5 6G : · · bl T p p p o o bl T : · XX · X · ·

Continues with Palaran Asmaradana laras miring Sindhènan : 6 6 6 6 6 6 Pra- wå- dyå kèh sam- ya

6 5 6 7 6 kek-si,

6 2� 3� 3� 4� 2� 2� 6 7 6 7 6 Mun- dur sa- king ra- nang- gå- nå,

4 3 Su- rat

2 6 6 6 6 7 6 4 3 2 3 gu- mu- ruh swa- ra- né,

5 6 2 3 4 3 Ma- neng ker- ing an- 3 3 3 Lu- ma- ris 2 3 6̣ Gen- ti gen- 1 1 1 Sak- så- må

4 3 2 3 3 ta- rik- så,

6

3 3 3 4 3 6 4 3 2 3 2 sa- lang tun- jang, 2 ti 1 pe-

3 3 re- but

3 4 6 4 3 du- jing,

2 3 2 4 3 4 3 2 pu- lih yu- då,

Continues with Srepegan Lasem in Solonese style laras sléndro pathet nem

Music transcription Act 1

417

P P P P P N N N N N N N N N N N 3 2 3

P N N 2 3

P N 5

N N 6 5G



6̣

5

6

5

2

3

5



1

6

5

3

6

5

3 2G&

3

2

3

2**

·

5

·

5

3

5

3

5

2

3

5



3G* 5G

* [gamelan sirep] (item 498) ** [udhar and to sampak, as follows]: Balungan : Dhodhogan :

3 ·

2 ·

3 ·

2 X X Xx

·

5

·

5G

[Continues with Sampak in Solonese style] laras sléndro pathet nem P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5 3 3 3 3G 3 3 3 3 5 5 5 5 2 2 2 2G* 6 6 6 6 5 5 5 5G *

Suwuk (from gong): 2 2 2 2G

Sampak lasem in Solonese style laras sléndro pathet nem [after item 534] Buka kendhang : · b t p p p p Balungan : · · · 5G Dhodhogan : x · · · · · · P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5

3 3 3 3G

3 3 3 3 5 5 5 5

2 2 2 2G*

*

6 6 6 6 5 5 5 5G

Suwuk (from gong): 2 2 2 2G

Appendix 2

418

Sampak lasem in Solonese style continuing with Ayak-ayakan in Solonese style laras sléndro pathet nem [after item 537] Buka kendhang : · b t p p p p Balungan : · · · 5G Dhodhogan : X X X X · · · · · · P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5 3 3 3 3G* 3 3 3 3

5 5 5 5 2 2 2 2G

6 6 6 6 5 5 5 5G *to Ayak-ayakan (as follows): Balungan : 3 3 3 3 5 5 5 5 2 3 5 6G Dhodhogan: [ngeter] X X X X · · · · Ayak-ayakan: P P N N N N N · 5 · 6 · 5 · · 3� ·

P N 6 ·

N 2� ·

N 1�P

2�

·

6

·

5G



3

2

3

5

1�

6

5

6

5

3

5

6

3

5

3

2G



5

6

5

3

5

6

5

3

2

1

2

6

2

1

2

3G



5

6

5

3

2

1

3

2�

6̣

5̣

3̣

5̣G



3̣

2̣

3̣

5̣

3̣

2̣

3̣

5̣

2

3

5

3

5

2

3

5G



3

2

3

5

1�

6

5

6

5

3

5

6

3

5

3

2G*

*

Suwuk (from gong)

6

6

1�

6

3

2

1

6̣

appendix 3

Music transcription Interlude (Gara-gara) Ayak-ayakan/Srepegan Banyumasan laras sléndro pathet sanga [after item 544] Buka kendhang : p p t b b · b Balungan : · · 2 · 1G P N N · 2 · 1 · 2 · 1 · 2 ·

N N 1 · 2 · 1G



·

6

·

6

5

6

1�

2

3

2

1�

6

5

1�

6 5G



1� 1�

5

6

1�

2

1�

6

5

1�

5

3

2

3

5



5 1�

5

3

2

5

3

2

5

5

2

3

5

6

3 5G



1� 6

2

3

5

6

3

5

1�

6

2

3

5

6

3

6 1� 2 2 · 5 5 6 [density doubles] P N N N 2 1 2

1�

5

1�

5

2

1

1

2 1G

P N N 1 2 1 2

6 5

P N N N 1 · 1 · 1 2 · 1G



3

2

1

2

3

5

6 5G



6

5

6

5

6

5

6

5

2

3

5 6G



1�

6

1�

6

1�

6

1�

6

5

3

1 2G



3

2

5

3

6

5

3

2

3

5

6 5G



6

5

6

5

6

5

6

5

2

3

2 1G



3

2

1

2

5

6

1� 6G

3 2 1� 6 3 [Srepegan Banyumasan]: P P N N N N N

2

3

6

5

2

3

2 1G

2

1�

6

P P N N N N

P N N

P N N

P N N N



3

2

1

2

3

5

6 5G



2

3

5

3

6

5

3 2G

Appendix 3

420



3

2

3

2

3

5

6 5G



6

5

6

5

2

3

2 1G



3

2

1

2

5

6

1 6G

3 2 1 6 3 2 1 6 * [Sampak Gara-gara Banyumasan] P P P P N N N N N N N N 2 2 2 2

2

3

6

5

2

1

2 1G*

P P P N N N N N N N N 6 6 6 6G



1

1

1

1

5

5

5 5G



2

2

2

2

5

5

5 5G



1

1

1

1

6

6

6 6G

Suwuk:

1

1

1

1

5

5



2

2

2

5

5

5 5G



1

1

1 1G



2

2 1 2 1 2 1 2 1

5

5G

2 1 2 1 3 5 6 5G

Ayak-ayakan Banyumasan laras sléndro pathet sanga [Sindhènan/Senggakan/Gérongan/Alok] (1) Balungan :

·

2

·

(2) Balungan :

·

2

·

(3) Balungan :

·

2

·

1

(4) Balungan :

·

2

·

1

(5) Balungan :

·

2

·

1

Sindhènan :

5 Yo

5 mas....

6

1�

(6) Balungan :

·

6

·

6

1

Music transcription Interlude

421

(7) Balungan :

5

6

1�

2

(8) Balungan :

3

2

1�

6

Sindhènan : (9) Balungan :

2� wå

1�

6

5G

Sindhènan : · 6

1� ar-

5 ...

1�

5

6

·

·

2�

1�

(10) Balungan :

5

1� Dé-

1�

Sindhènan : (11) Balungan :

5 gå...

1�

Sindhènan : ... (12) Balungan :

5

1�

Sindhènan : · · (13) Balungan :

2

Sindhènan : 3� (14) Balungan :

5

3 5 ma-

Sindhènan : (15) Balungan : Sindhènan : 1�

2

5

2

6 3 ...

5

6

5

3

5 Yo

1 ra-

5

6

3 5 · né 1�

3

2 dhé-

5 5 Dé-

6 wé, 3

5 wå

3

5 2 5 3 · 2 ar-

6

2 2 gå,

Appendix 3

422 (16) Balungan :

5

5

Sindhènan : · · (17) Balungan : Sindhènan : (18) Balungan :

5

(19) Balungan :

6

6 1 · bek 1

Sindhènan : ·

1� Yak-

5 pi-

5

6 1� la

6

Sindhènan : ·

1� 2 Ya-

(21) Balungan :

5

(22) Balungan :

6

1�

2

Sindhènan :

6 Ya

1� ba-

2 pak

(23) Balungan :

5

Sindhènan :

1� ba-

(24) Balungan :

5

5 wi-

5

3 ca-

6 rå-

5 tå, 3 3 nès 5

2 5 5 ra- né,

2

3 2 5 3 må ra-

3

5

5 6 1 6 ma- ku dhé-

5 wé,

2

·

6

1�

5 2� · 5 pak- 1

3

3

6

Sindhènan : · ·

1 ham-

2 5 go-

6

1

2� så

2

Sindhènan : · · (20) Balungan :

3

3 2 5 nan- dhi-

6 1� Yo

2

5 5 1� ku dhé- 5

1� wé, 2

Sindhènan : · · · 2 2 2 2 Wa- li pa- pat

Music transcription Interlude (25) Balungan :

423

1

1

2

1G

Sindhènan : ·

1� 2� 3� 2� ki- nar-

1� 6 1� yå la-

5 2 2 buh ne- gå-

(26) [balungan density doubles] Balungan : 2

1

Sindhènan : · 1 6̣ (27) Balungan :

2

(28) Balungan :

·

Sindhènan : (29) Balungan : Sindhènan : 6 ...

6

1 1G

1

2

1� Yo

2� mas...

6

2

5

6

5G

1�

1� Yak-

(31) Balungan :

6

5

1�

6

6

5

2� · · 1� sa dé-

1�

2

3

1� 6 1� nès

6

1�

6

6

5

6

5

6

5

Sindhènan : · · ·

Sindhènan :

5

3

Sindhènan :

(33) Balungan :

1�

5

3

(32) Balungan :

2

·

(30) Balungan :

Sindhènan : 2� wa...

1

1 rå, 1

1

2

2� Go-

5 5 wi-

6G 2 ca-

5

Appendix 3

424 (34) Balungan :

1

Sindhènan : 2

6

5 2 6 ra-

1

6

6 né,

(35) Balungan :

1�

6

1

6

(36) Balungan :

5

3

1

2G

Sindhènan : 2� Dé- (37) Balungan :

3� wå

· 2� dé-

3

1� wi

2 2

Alok : ·

6 · lo

(38) Balungan :

6

Sindhènan : 6 Jar- Alok :

3

]

5

5 lo,

2� yak-

3

1� 2� 1� 6 wå

3� 1� 2� 6 é

6

5

Sindhènan : 6 3 1 2 [ 3 É-

2�

6

2

5 3 2 mu- 5

2

3

2 dhå, 2

(39) Balungan :

3

5

Sindhènan :

· Go-

· nès

(40) Balungan :

6

5

6

5

(41) Balungan :

6

5

6

5

Alok :

6 2

2

2 Wa

5G 3

3 lo

5

5 lo

Music transcription Interlude (42) Balungan :

2

3

Alok : · Senggakan :

5 Sing

(43) Balungan :

3

425

2

1G

3� 2� o- 6 sa-

1� 2 yuk

1� wèng,

5 sing

2

6 ru-

1

2

Sindhènan : · · · Senggakan :

1�

(44) Balungan :

5

6

Sindhènan : 2 · lå

6G

1� 6 5 1� · mu- dhå

5 kå-

1

Alok I :

1� 3� o

3 2� é

1� 3� o

2� é

· 5 a

1� é

6 o

· 1� é

5 a

1� é

1

6 o 6

2� é

2

5 ha

5 a

3

2 Du

3 wa

1� é

6 5 o ha

5 a

1� é

6

Sindhènan : · · Alok : ·

6̣ dhå,

·

2

Alok II : · · (47) [slows down] Balungan :

6

3 · 2 1 6̣ mu-

Alok II : · · (46) Balungan :

2� lå

1

(45) [Alok I = Men; Alok II = Women] Balungan : 3 2

2 é

1� Kå-

·

Sindhènan : ·

Alok I :

2� kun,

2 du

6 o 5

2� 2� 2� 3� 2� Kå- lå mu- dhå

2�

3 wa

6 lo

5 lo

Appendix 3

426 (48) Balungan :

2

Sindhènan : · Alok : 5 lo

6 lo

(49) [Srepegan] Balungan :

3

3

2

1G

2� 2� · 1� 6 1� 5 2 1 6̣ 1 bang- kit ham- beg pi- nan- dhi- 1� lo

1 ta,

5 lo

2 1 6̣ o-

1 wèng,

2

1

2

Sindhènan : ·

1 Go-

2 nès

1 wi-

6̣ ca-

1 ra-

2 né,

Senggakan : ·

1� Pi-

2� tik

1� wa-

6 lik

1� jam-

2� bul,

(50) Balungan :

3

5

6

Sindhènan : 3 ·

1 Ya

2 1 go-

Senggakan : 3� · (51) Balungan :

(52) Balungan :

3

Sindhènan : (54) Balungan :

3

3 3 3 · Kan- ca- né

5 1 2 3 ku- rang si- ji,

6

Sindhènan :

3 2 6̣ Sing 3

5̣

5

5

Senggakan : · 2 3 5 5 Ga- wé cu- wa (53) Balungan :

6̣ nès,

3� 2� 1� 6 · 2� 1� 6 5 Se- go go- long mam- bu en- thong,

2

Senggakan : ·

5G

2 1 2 sa- yuk 5

3

2G

2 3 2 1 2 ra- sa- ning a- ti, 3

2

2 6̣ 1 2 sing ru- kun, 6

5G

5 5 6 3 5 · 6 2 3 5 Sa- yuk ru- kun nyam- but ga- wé,

Music transcription Interlude (55) Balungan :

6

5

Senggakan : · (56) Balungan :

427

6

2� 3� · Wi

2

3

5 5 5 5 5 da- wa da- wa,

2

1G

Senggakan : · · 5 6 1� 2� 5 6 2� 1� Sing sa- yuk sing ru- kun, (57) Balungan :

3

Senggakan : · (58) Balungan : 5 Senggakan :

2� 2� cu- cu-

(59) Balungan :

3

Alok I : 2� é

1� 3� o

2 5 Ja-

6 lak

5 · é

2� é

3

Alok I : 2� é

1� 3� o

2� é

2

1� i-

2� jo

1�

6G

1� 6 1� a- bang se-

2� pa-

6 ro,

2

1�

6

·

·

·

5 a

1� é

6 o

1� é

5 a

1� é

6 o

2

1�

6

·

·

·

Alok II : · · (61) Balungan :

2

5 6 ja- lak

6

Alok II : · · (60) Balungan :

1

5 5 ha a

3

1� é

6 o

5 ha

5 a

1� é

6 o

6

5

Sindhènan : · ·

2� 2� 2� 3� 2� O- ra gam-

2� pang

Alok : ·

2 du-

2 Du-

3 wa

3 wa

5 lo

6 lo

Appendix 3

428 (62) Balungan : Sindhènan :

2 2� 2� nggo- lèk

Senggakan : 5 lo

6 lo

(63) Balungan :

3

Sindhènan : · Senggakan : · (64) Balungan :

3

2

1� 6 1� ka- wruh 1� lo

5 kang

5 lo

2 lo

2

2 1 u-

6̣ 1 1 ta- ma,

1 lo

6̣ o-

1

6̣ 1 2 Man é- man 1� Pi-

1G

2

1 6̣ é- man

2� tik

1� wa-

6 lik

3

5

Sindhènan : 3 ·

3 2 1 · é- man

Senggakan : 3� ·

3� 2� 1� 6 · 2� 1� 6 5 Se- go go- long mam- bu en- thong,

(65) Balungan :

2

Senggakan : · (66) Balungan :

Sindhènan :

5

(68) Balungan :

3

Sindhènan : ·

5G

3 5 1 2 3 ku- rang lo- ro, 2G

2 3 2 1 2 ra- sa- ning ne- la, 3

1 2 gi- yak

Alok : 2 6̣ 2 · · é ha é

2� bul,

3

2

2 6̣ Sing

1� jam-

5

3 3 3 · Kan- ca- né

3

2 man

3 2 1 6̣ 5̣ é- man,

Senggakan : · 2 3 5 6 Ga- wé cu- wa (67) Balungan :

1 é-

6

3

6

1 wèng,

2

2 6̣ sing 2 é

6̣ 2 ha é

5 5 5 6 3 5 A- yem ten- trem

1 2 ta- ta,

·

·

6

5G

6 sak-

2 3 5 wa- nga- né,

Music transcription Interlude (69) Balungan :

6

5

Senggakan : · (70) Balungan :

6

2� 3� · Wi

2

3

Alok : ·

Senggakan : (73) Balungan :

3 5 Ja-

6 lak

3 o

2 é

(74) Balungan :

3

Alok I : 2 é

1 3 o

2 é

2� jo 6G

1� 6 1� a- bang se-

2� pa-

6 ro,

2

1�

6

·

·

·

5 a

1� é

6 o

1� é

5 a

1� é

6 o

2

1�

6

·

·

·

Alok II : · · 2

1� i-

1�

5 · é

3

2

5 6 ja- lak

6

2� 2� cu- cu-

1� wèng,

1

Alok II : · ·

(75) Balungan :

1G

5 6 1� 2� 5 6 1� Sing sa- yuk sing ru- kun,

2

5

Alok I : 2 1 é

5 5 5 6 da- wa da- wa,

5� 3� 2� O

Senggakan : · (72) Balungan :

5

2

Senggakan : 5 · ·

(71) Balungan :

429

3

Sindhènan : · ·

5 ha

5 a

1� é

6 o

5 5 ha a

1� é

6 2� 2� 2� 1� 6 Te- pi was- tra

6 o 5

1�

2�

Appendix 3

430 (76) Balungan : Sindhènan : (77) Balungan :

2

3

2� 2� Was- tra

1� kang

3

Sindhènan : 3 · (79) Balungan :

2

Senggakan : · (80) Balungan :

Sindhènan :

5

6

1 lå

1 2 lé-

3

5

5

3 2 6̣ Sing

Sindhènan :

3

1 2 lé- lå 5G 1 lå

6

5̣

3

3

2 3 5 5 Ga- wé cu- wa

3

1 2 gi- yak

5

2G

2 3 2 ra- sa a-

2

Alok : 2 6̣ 2 · · é ha é (82) Balungan :

1 6̣ lé- lå

2

3 3 3 · 5 1 2 3 Kan- ca- né ku- rang te- lu,

6

Senggakan : · (81) Balungan :

2 1 lé-

1 6 1 1 ta- ka,

1

1 2 Lé- lå

3

1G

6 1� 5 2 tum rap mus-

2

Sindhènan : · (78) Balungan :

2

2

2 6̣ sing 2 6̣ 2 é- ha- é

1 2 ti- ku,

1 2 tå- tå,

·

·

6

5G

5 5 6 3 5 · 6 2 3 5 Sa- yuk ru- kun nyam- but ga- wé,

Alok : ·

5 o

3� 5� 2� 3� 5� o wèng,

(83) Balungan :

5

6

6

Senggakan : ·

2� 3� · Wi

5 5 5 5 6 da- wa da- wa

Music transcription Interlude (84) Balungan :

2

3

2

Senggakan : 5 · · Alok : · (85) Balungan :

3� · o

2

1

5 Ja-

(87) Balungan :

6 lak

2

3

1� i-

2 jo 6G

2� pa-

6 ro,

1� 5 a

1� é

2

Senggakan : · ·

2

1� 6 1� a- bang se-

Alok : · · (88) Balungan :

1� wèng,

1�

5 · é

3

2� o

5 6 ja- lak

6

2� 2� cu- cu-

1G

5 6 1� 2� 5 6 1� Sing sa- yuk sing ru- kun,

5� · o

3

Senggakan : · (86) Balungan : 5 Senggakan :

431

6 o

6 1� é

5 o

1� é

1� 5 a

5 a

1� é

6 o

6 o 6

5 a

5 a

6 o

Dhodhogan :

·

·

·

(89) Balungan :

2

3

6

5

Dhodhogan : x

x

x

·

X

(90) Balungan :

2

3

2

1G

Chorus : 2� Nyå-

2� tå

(91) Balungan :

3

Chorus :

2� A-

x

x

2� wan-

2� ci-

1� né

2 5 nla-

6 ras

5 wus

x

1� é

6 sang-

1 5 wus

6 cu-

x

1� guh, 2

1� ma-

2� wis,

Appendix 3

432 (92) Balungan :

3

Chorus :

3� Gu-

(93) Balungan :

2

Chorus : · (94) Balungan :

6

Chorus :

6 Ka-

(95) Balungan :

3

Chorus : · (96) Balungan :

5 1� me-

6 lar-

5 ing

3 3 Jar-

3 wå

1� ra-

5 wi-

3 kang

2 tan

3 ki-

3 am-

2 · bang

5 nå-

3 ndhå, 2G

1 ba-

2 rung, 2

6̣ ki-

6

2 · am-

5 yå, 3

3

5 3 Trus

6 dhå-

3

2 6̣ Tem-

1� bu-

5G

5

5

3

Chorus : ·

6

2 dung, 5G

3 ba-

5 rung,

(97) Balungan :

6

5

6

5

(98) Balungan :

2

3

2

1G

Chorus : · (99) Balungan :

5 A-

6 nyeng-

3

2

Chorus : · · (100) Balungan :

5

Chorus : · Dhodhogan :

·

2� 3� ga-

6 6 am-

1 2� Ang-

6 gi-

X

X

2 1� ya-

1�

1� · bo- ·

1� ki,

2� tan 6G

5 sen-

6 i, ·

Music transcription Interlude (101) [speeds up] Balungan :

3

Chorus : ·

2 2� A-

x

·

(102) Balungan :

3

2 2� a-

x

x

·

(103) Balungan :

2 5 6 Yek- x

5 a-

6 yo ·

1�

6 5 kem-

6 ba,

x

x

3

6

5

1� ti-

5 né

2 da-

x

x

6

x

1� · ja

Dhodhogan : x

Chorus :

1�

1� · yo

Dhodhogan : x

Chorus : ·

433

Dhodhogan : x

x

x

x

x

x

(104) Balungan :

2

3

2

1G

Chorus :

5 ya

3 di-

2 na-

1 ya,

Dhodhogan : X

X

X

[Continues with Sampak Gara-gara] (1) Balungan : 2

2

2

2

6

Sarons

2

2

2

6 ·

6

6

6

·

6

6

6

Dhodhogan : x · · x · · x · · x · · x · X X · X X

·

x

x

x

(2) 1

5

5 5 ·



: 2

1

5

1

5

5

5

X X · X X · · · · · x · x · x · · · x

x

x

1 ·

1

1

1

·

1

1

6G

5G 5

·

X X · X X · ·

Appendix 3

434

[Sampak Gara-gara continues] [mandheg (pause)] Continues with Jangkrik Génggong gendhing dolanan laras sléndro pathet sanga [from gong 6, mandheg; begins with buka celuk] P P P N N N N N N N N

5 1� 5 6G



1 2 3 2

3 5 6 5G



1 2 1 6

1 2 1 6G



3 2 3 5

6 2 6 5G



3 2 1 6

1 2 1 6G



1 2 1 6

3 2 3 5G*



1� 5 3 2

5 1� 5 6G



1 2 3 2

3 5 6 5G

* Return to Sampak Gara-gara

Jangkrik Génggong gendhing dolanan laras sléndro pathet sanga [cakapan] Buka celuk : (1) Balungan : Sindhènan : (2) Balungan : Sindhènan : (3) Balungan :

5 Sma-

1� rang

2� ka-

5 5 5 Ja su-

1� me-

3 2 ban- jir,

2� lang

5 1� ra

2 1� u-

3

Sindhènan : 1� 6 1� 6 ma- lum-

5 né

1�

1 6 6 Jang- krik

1� li-

2� på

1� nèng

1� pi-

3 2� 2� 1� så- bå ing

5 5 pat

5 di-

6G

2 3� po-

6 5 te-

3 ngah

6 kir,

2� jok 5G

6 jo-

5 gan,

Music transcription Interlude (4) Balungan : Sindhènan : (5) Balungan :

1 · 1� Wis

Sindhènan : (7) Balungan :

6

Chorus :

1� É-

(8) Balungan :

6

Chorus :

1� É-

(9) Balungan :

1

Sindhènan : · (10) Balungan :

1� Ja-

(11) Balungan :

3

Sindhènan :

2� 1� Wa- ri

(12) Balungan :

1�

Sindhènan : ·

1� 2� nga- ku

2 3 2 da- l an

3 se-

2 é 2

1� Jang-

3� ngli-

1� se-

2� rik

6 tyå 5

6 wèng-

5 an, 5G

6 yak-

1

5 é, 6

6 6 6 6 6 6 yak- é yak- é yak- é, 1

6G 1� géng-

1

2� 3� krik 2

6 yå, 6G

6

2� 3� krik 2

1� Jang-

5 lé-

2 · é 2

5 yak-

1� pri-

3

2 5 yak-

6

1

2� ré

1

Sindhènan : ·

1� 3� tak- é

2

3 3 3 te- kan

1

2� wa-

1

Sindhènan : · (6) Balungan :

2

435

6 1� géng-

3 5 3 se- pi

5

3

5 1� 2� 1� 1� Jeng ngé- tan [a-] ba-

5 lik

6 gong,

6 gong, 5G

6 nge-

5 won, 2

3 ngu-

2 lon

Appendix 3

436 (13) Balungan :

5

Sindhènan :

5 5 å- på

(14) Balungan :

1

1� 1� se-

3

Sindhènan :

1� 6 A- jå

(16) Balungan :

1

Sindhènan : · (17) Balungan :

(18) Balungan : Sindhènan :

5 di-

(19) Balungan :

6

Chorus :

1� É-

(20) Balungan :

3

Chorus :

1� É-

1� cam- 2

1� A-

2� ti 2

1� A-

3 3 3 Je- bul

2� jak

2� ti 2

3 å-

2 nå 2

5 yak-

5 yak-

2 é

1� la-

3 2� 2� 1� ru- jak- é

5 pur-

3� na-

3 i

2� nas 5G

6 kwe-

1 1� 3� ti- was

1� 3� a- dhem

1� ngga-

6 gas, 6G

1� pa-

3 3 5 sing ndu-

5 ni, 6

1

6 nas, 5

6 wè-

6

1

5 kon, 2

6

2 · é 2

6G

5 ke-

5

1

Sindhènan : ·

2� 1� dya- né 2

Sindhènan : · 6 1� Y­èn ru- (15) Balungan :

5

5 ni, 5G

6 yak-

5 é, 6

6 6 6 6 6 6 yak- é yak- é yak- é,

Music transcription Interlude (21) Balungan :

1

2

Sindhènan : · (22) Balungan :

1� Jang-

(23) Balungan : Sindhènan :

1

2� 3� krik

1

2

Sindhènan : ·

1� Jang-

2 3� be-

6G 1� géng-

1

2� 3� krik

3 2� 1� Lu- wih

437

6 1� géng-

3

2� cik

5 3 o- mong ko-

6 gong,

6 gong, 5G

6 song,

5

[Continues with Sampak Gara-gara] [mandheg] Continues with Glopa-glapé gendhing dolanan laras sléndro pathet sanga [from gong 6, mandheg; buka celuk]: t P t N t P t N t P t N t P t N 5 2 3 2 1G

2

1

3

2

3

5

6 5G



2

1

2

1

3

5

6 5G



6

5

3

2

6

5

2 1G*

*

Return to Sampak Gara-gara

Glopa-glapé gendhing dolanan laras sléndro pathet sanga [Cakapan] (1) Balungan :

·

·

Dhalang : · · · · 5 Glo-

· \ 6 pa

· 1� gla-

5 pé...

Appendix 3

438 (2) Balungan :

·

Chorus : · ·

·

·

\ 6 3 5 ... Glo-

\ 6 pa

5 1� gla-

5 pé,

(3) Balungan :

·

2

·

3

(4) Balungan :

·

2

·

1G

Chorus : 5 Ga- (5) Balungan :

6 1� 6 1� \ jah- é ke- pé- ·

2

Chorus : · 1� É- (6) Balungan : Chorus : 5 U- (7) Balungan :

· \ 6 la-

Chorus : 2 Ma- (9) Balungan :

\ 3� é,

3 1� né

·

5 ke-

2 pé-

3

Chorus : · 2 É- (8) Balungan :

\ 2� lok-

·

\ 3 5 lok- 6

\ 3 5 nuk- é ·

\ 3 5 ke- pé- 2

2� \ ngin

1

1�

·

·

2

3 ngin

2 bur, 5

2 é,

·

·

5G

\ 6 ngin

5 ngla-

·

(10) Balungan :

2 3 é-

2 ma-

·

2� · É-

Chorus : 2� 5 ...

1 nèk,

·

Chorus : · ·

3� \ mè-

1 1� lok-

·

2 3 2 é- é-

5 ngi,

1 é... 1

1 lok-

1 é,

Music transcription Interlude (11) Balungan :

·

3

Chorus : · (12) Balungan : Chorus : 1� (13) Balungan : Chorus

439

1 É-

·

3 5 · lok-

·

6

6 5 É-

5 te-

·

6 5 lok 6

6 man, 5G

5 i-

5 ki,

·

5

:

·

(14) Balungan :

·

5

·

3

Chorus : 5 6 Ko- dhok- (15) Balungan :

1� é

5 ke-

·

2 pé-

3 ngin

6

Chorus : · (16) Balungan :

·

2 É-

2

Chorus : 3 · Lah

2 é-

2 nyem-

·

6 · lok

·

2

5 5 te-

·

2 3 2 lok

[Returns to Sampak Gara-gara] [Suwuk] Ledhung-ledhung gendhing dolanan laras sléndro pathet sanga [after item 550]

from buka celuk [see below]:

3

2

3

2

5

3

2 1G



2

1

2

1

2

5

1�

6G



3

2

3

1

·

6

·

5G

2 bur,

5 man, 1G

1 i-

1 ki,

Appendix 3

440 Balungan

:

Buka Celuk :

5 1� Ka- é

5 å-

3 · nå

2 5 1� ma- nuk

2

6 5 2 pu- dhang

Dhalang : · (1) Balungan : ·

3

·

2

·

3

2 Le-

·

2

Sindhènan : · 2 2 · 2 3 3 2 · 2 3 3 2 2 3 3 2 A- tak le- dhung le- dhung le- dhung, Dhalang

: 2 · · · dhung

(2) Balungan : ·

5

·

Sindhènan : · 5 1� · 3 Men-cok a- Dhalang : · 2� · · O... (3) Balungan : ·

2

·

3 2 · · le- dhung

3

·

2 3 5 2 nèng pa- pah ·

2

·

·

· ·

1 ·

2

· 1

2

·

5

·

1

Sindhènan : ·

· Si-

2

5 bu

·

6 la-

(5) Balungan : ·

3

·

2

·

3

2 O-

2 lah

·

·

Sindhènan : · · · ·

3 ...

1 kang-

1G

2 3 2 1 ge- dhang,

(4) Balungan : ·

Sindhènan :

3 2 le- dhung,

·

Sindhènan : · 1 1 · 1 2 1 · 1 2 1 A- tak le- dhung le- dhung,

(6) [tempo slows down to suwuk] Balungan : · · ·

3

6̣

1

·

·

·

6̣G

2

·

1

6̣ gi, 1

2 3 2 o- lah ·

5G

2 1 6̣ 1 6̣ go ko-

5̣ wé,

Music transcription Interlude

Sulukan Pathet sanga wantah Banyumasan laras sléndro [performed by pesindhèn] [after item 553] 2 2 2 2 3 5 35 3-232 Ka- yu- né pur- wa se- ja- ti, 2 3 5 5 5 5 5 5 5 5-35 5 353 2-1 Pa- ngi- ra ja- gad go- dhong ki- nar- ya ru- mem- bé, 1� 1� 1� 1� 1�2�3�1� 56 53-53532 A- pra- da- pa ka- ku- wung, 6 6 6 6 6 6 6 61�-56 65 21�3�2�1�2�1�65 Kem- bang lin- tang sa- la- ga la- ngit, O... 2 2 2 2 2-32 21-6̣16̣ Woh sur- ya lan teng- sung, 2� 2� 2� 2� 2� 1\ \2�2�2 \\ �1-61 \�65 Ka- si- rap bun lan u- dan, 5̣ 6̣ 1 1 1 1 1 1 1 2 16̣1 1 Pun- cak a- ka- sa bu- mi beng- kah pra- ti- wi, 2 2 2 2 2 2-1 1-6̣ 1-6̣-16̣5̣ O- yod- é ba- yu ba- jra, O...

Jineman Magelangan Puji Astuti laras sléndro pathet sanga [after item 554] from buka celuk (see below): 1G

3 2 1 6̣



2 5 2 1

2 6 3 5N



· 5* · 1

3 2 6 5



353235* · 2

6 1� 6 5



51�5·2356* · 1

3 2 1 6̣P



2 5 2 1

2 6 3 5N



3 3 5 3

6 5 3 2P



3 5 1 6

2 1 6̣ 5̣G

* Mandheg [tempo resumes at end of gatra]

441

Appendix 3

442

Jineman Magelangan Puji Astuti laras sléndro pathet sanga [sindhènan/senggakan] Buka celuk : 5 6 1 5 2 1 2 1 2 1 6 1 1G É- nak- é é- nak- é si- nam- bi dolan, (1) Balungan :

3

2

1

6̣

Sindhènan : · 1 1 1 1 2 2 · 5 3 5 2 1 6̣ Tri- må ra- di blå- njå ning jå kå- ndhå kå- ndhå, (2)

2

· 2 1 6̣ 1 Go- nas

5

2

1

2 5̣ 2 2 1 2 1 6̣ 1 1 ga- nés wi- ca- wi- ca- ra- né,

(3) [tempo slows to rangkep (doubled)] 2 6̣

3

5̣

· · 2 2 2 2 2 2 2 1 3 1 2 6̣ 1 2 1 6̣ 5 Ka-weng-ku-a sa-yek-ti da- di-ya u-så- då, (4) [* = andhegan (pause)] ·

5*

· (5)

3



(6)

· ·

3

5

3

·

1

1� 1� 2� Pu- nå-

1� 6 1� 1� på tå,

2

6

5

1� 2� 6 1� 2� 6 1� 6 5 5 Mi- rah ing- sun, 2

3

5*

·

· · · · · 2 5 1� Pri- ha- Senggakan : · 3 5 3 2 3 [

5 ]

(7)

1�

6

· ·

2

6 5 2 tin was-

6

6 1� 6 5 6 1� 2� · 2� 1� 6 2� pa gung mi- jil,

5

1� 6 5

Music transcription Interlude

443

(8) 5 1� 5 · 2 3 5 6* · 1 · 5 5 6 6 5 1� 1� Tu- hu da- hat Senggakan : 5 1� 5 · 2 3 5 6 1� 2� Mam-pir mas ma- ngga mam- pir mam- pir (9)

3

6 1� 2� 1� 2� ... (10)

2

2

· (12)

2

3

5 6 1 5 3 5 · 2 1 · 6 1 2 Sang-kang ri- ne mek-an gus- 3

6

5

· · 5 5 Ge-lung (14)

3

(15) [tempo slows: suwuk] 2 · ·

1

1 6 5 ti,

6 1� 6 1� ri- nu-

5 5 5 6 5 sak se-kar1

3 2 é- man

3

2 3 3 1 3 3 nès sak-so- lah- é 3

5

2 2 · · · 2 3 5 nyå, Man é- man

5̣N

5

· 1 2 · 1 2 3 · 3 3 5 Go- nès go- nès ga- (13)

1

2 1 6̣ 6̣ 5̣ 1 1 wi- ca- wi-ca-ra- né,

6̣

3

6̣P

2 · 3 2 1 6̣ 6̣ kar- yå,

5

· 2 · 1 6̣ 1 1 2 1 5̣ 2 · Gan- dhes lu- wes (11)

· ·

1

6 1� 5 · 2 · tan- på

2

·

2P 3

6̣

1 1 5̣6̣1 2 6̣ 1 6̣ é- man é- man, 6

5G

2 2 1 1 1 6̣ 5̣ 6̣ 1 2 3 2 1 6̣ 5̣ Su- ma- wur gam-bir me- la- thi,

Appendix 3

444

Gunungsari Kalibagoran lancaran laras sléndro pathet sanga [after item 590] Begins after buka celuk [see following notation], at point marked by *:

·

6

·

5

·

2

·

1

·

3

·

5

·

3

· 2P*



·

5

·

6

·

2

·

1

·

3

·

2

·

1

·

6̣N



·

1

·

5

·

2

·

1

·

3

·

5

·

3

·

2P



·

3

·

2

·

1

·

6

·

2

·

1

·

6̣

·

5̣G

Gobyog [lancaran; balungan doubles in density] t · t N t P t N t P t N t P t N 1 1 2 1 5 3 2 1G

·

·

·

2 3

5

3

2G



3

2

3

2 5

3

2

1G



2

1

3

2 1

2

1

6G



3

5

6

5 2

3

2

1G



2

1

3

5 6

5

3

2G



3

2

3

2 1

2

1

6G



2

3

6

5

1

6

5G

2

Gunungsari Kalibagoran laras sléndro pathet sanga [sindhènan/senggakan] Buka celuk: 5 5 2 3 2 2 5 6 1� Be- ras wu- tah pi- tik- é mla- yu, Balungan

:

2



5 5 2 3 2 2 2 3 1 2 A- ku be- tah nya- wang wong a- yu,

(1) [Ba = Balungan; Si = Sindhènan; Se = Senggakan] irama rangkep Ba : · 5 · Si : Se :

5 Mam-

1� pir

5 5 · O- ra 5 · mas,

2 ma-

2 3 pa- ti 3 ngga

6

5 1� a- 5 mam-

6 yu 6 pir

Music transcription Interlude (2) Ba

:

·

2

·

Si : 6 · 2 6 · · 1� 2� mas mas Nang- ing Se : 1� 2� 5 6 1� 2� · mam -pir ma- ngga mam- pir (3) Ba

:

·

Se : 1� 2� 3� · 1� 2� mam- pir mam- pir, :

· 1� lon

Alok : ·

6 lo-

:

Si

:

5 Wa

·

·

·

· 2� 2� Ja- nur

2�

·

:

·

6̣

2 pa-

3 2 1 6̣ to-

1� · 6 1� 2� 6 lo wèng,

2�

2�

· 2�

man, Mla- ku ngé- tan a- (6) Ba

2

2�

1�

1�

5 2�

6 1� 6

la ba- lik ngu- ·

(7) Ba

:

·

3� 5� 3� o 3

2� 3� o- ·

Si : · · 1 3 2 3 Man Alok :

·

·

la- la- la- la

5 lon, 1

Si : 5 6 1� 5 · 5 1� 6 5 2 1 1 6̣ 1 jolalilo, A- pa se- dya- né ke- la- Alok : · · 2� 3� 5� · Walolo

2�

·

2 2�

2

2� 1� 6 1� gu- nung,

1� 2� 5 Ba- njar

· 6̣

5 6 1� gu- na- ni,

5 5 5 5 5 5 6 1� na- pa ès- tu na- pa mbo- ten

1

Si : · 2� 2� Sa- ku-

(5) Ba

3�

1

1� 1� 2� rå- då mi-

3

Si : ·

(4) Ba

445

1 kon, 1� wèng, 5

5 5 6 é- man

1�

o

o

Appendix 3

446 (8) Ba

:

·

Si : 5 5 · é- man Alok :

· o

(9) Ba

·

:

3 1� · 6 5 3 né- · o

·

2

3 man

2

1 o

3 o

3

·

5 é

2

2

Si : · 6̣ 1 2 3 6̣ 1 2 Sad é- sod é- sad é- sod

6̣ 3 2 3 6̣ 1 2 ndhal én- dhol én- dhal én- dhol,

Se : · 6̣ 1 2 3 6̣ 1 2 Sad é- sod é- sad é- sod

6̣ 3 2 3 6̣ 1 2 ndhal én- dhol én- dhal én- dhol,

(10) Ba

:

·

1

Si : · · 1 2 Ka- di (11) Ba

:

·

·

6̣

2 3 2 1 nga-

6̣ ren,

·

1

2

Si : 1 2 1 6̣ 1 2 2 2 · · 6 6 6 6 6 6 Ba- nyu a- dhem ba- nyu a- nget, ka- di nga- ren k ang baSe : 1 2 1 6̣ 1 2 1 2 Ba- nyu a- dhem ba- nyu a- nget, (12) Ba

:

·

Si : 1 6 5 5 gus

6 3 5 · ga-

·

·

:

·

5G

2 6̣ 1 6̣ · 5̣ 5̣ sik te- ka- né,

Alok : lo lo lo lo lo lo lo lo lo · hooooy · (13) Ba

6

5̣ 5̣ a- la

·

Si : · · 5 5 6 · 6 6 6 1� Ba- yèn- é ku- ning ku- (14) Ba

:

Si :

· 2� 1� 2� A- yem-

2 5 é

·

3 5 5 · u- wis

·

5̣ 5̣ i- ya, 5 5 ning 1

2 2 1 2 3 1 ke- san- dhing,

Music transcription Interlude Alok : (15) Ba

:

Si : (16) Ba

2� Dhu-

2� wa

3� lo

·

·

Si :

5 5 · 1� de- leng é

2 jom-

:

Si : (18) Ba

:

3 2 2 2 5 plang se- mut i- reng

:

:

1� kot

·

5

2 2 ré-

2 pot,

5 1� mam- pir

·

5 · mas

·

2 ma-

2

2� o

3� o

·

·

5 mam-

6 pir 1

5 5 5 5 5 5 6 1� na- pa ès- tu na- pa mbo- ten

5� · o

3� o

3

·

Si : 2

2� 2� 2� 1� 6 1� lem- ba- yung pa-

Se :

5 Wa-

2� o

1� é 2

2 2 2 1 1 sa- yur pa- cé,

1

6 lo-

3 ngga

6

·

Si : 1� 2� 3� · 1� 2� 3� · mam- pir mam- pir (20) Ba

6 nyo-

1� 2� 3� 2� O- wèng,

Si : 1� 2� 5 6 1� 2� · mam- pir ma- ngga mam- pir

(19) Ba

5

5 3 2 3 · 1 1 1 1 6̣ 1 gam- pang di- la- kon- i

·

Alok : ·

1� wèng,

·

3

Alok : · (17) Ba

3� 2� o-

3

5 Pring

:

5� lo

447

· 5 hit

2 ra-

1� 6 1 lo

6̣ 2 3 2 1 6̣ sa né, 6 1� lo- lo

2� 6 o- wèng,

Appendix 3

448 (21) Ba

:

·

Si : · (22) Ba

:

1 2� 2� 2� 2� Ka- la wu- dhu

·

1� ka-

2

Si : 6 1� 5 6 · 5 1� 6 5 lalilo wong a- la Alok :

2� Wa-

3� lo-

(23) [Dho = dhodhogan] Ba : ·

·

5

2� la

1� 6 5 5 5 wu- dhu jo-

·

1

2 1 2 1 6̣ 1 1 nggo nam-bel bu- tuh,

5� lo...

2�

1�

3

3�

2�

1�

·

5

Si : · · 1 3 2 3 Man

5 é-

Alok :

· a

a

a

o

o

Dho

:

·

X

X

X

(24) Ba

[tempo speeds up] : ·

3

·

·

Si :

5 5 · Kla- sa

Alok :

o

o

Dho

:

X

X

(25) Ba

:

Si :

·

·

(26) Ba

·

Si : (27) Ba

:

·

1 2 · Kla- sa ·

1�

2

3 5 3 2 ja-

2 nur

o hok hok

·

hok-ya

3

·

2

6̣ 1 2 1 2 · · Ja ngo- no ngo- no

Alok : hok-ya :

o

a

5 6 man,

hok-ya 1

6̣ 1 2 1 2 ja ngé- né ngé- né, hok-ya

·

·

·

·

·

·

2 3 2 1 ja- 2

·

6̣ 6̣ nur, 1

Music transcription Interlude Si : 1 2 1 6̣ 1 2 2 2 ba- nyu a- dhem ba- nyu a- nget

449 6 6 6 6 kla- sa ja- nur

Alok :

lo

(28) Ba

5̣G

:

·

Si : 6 kla-

6̣

6 1 6 5 3 5 2 6̣ sa- né wong mba- rang

Alok : lo lo lo

lo

lo

· 1 6̣ 5̣ ga-

hok-

5̣ wé, yah,

[Continues with Gunungsari Gobyog] [Balungan doubles in density] (29) Ba

:

Si : (30) Ba

5̣ 6̣ ra- ma,

:

Si : (31) Ba

1

:

5̣

5 2 ti-

1 nggal

:

2 ra-

·

Si : · 2 2 Nan- dur (32) Ba

6̣

Alok :

2

1

1

·

·

3

2

1

1 ma

2 mé-

· 3 ja-

3

Si : · 2 3 nya- mbut

1

5 é 5

3 ga-

5 wé

1 lu

6̣ 1 1 sa- pa,

· 3 nèng

2

2 ga-

1 2 2 leng- an,

3

2G

2 2 3 1 3 be- ba- reng-

2 an,

6 O-

1� o

2� é,

(33) Ba

:

3

2

3

2

(34) Ba

:

5

3

2

1G

Si :

5 6 1� · 6 5 · Kla- sa

2 ja-

1 nur,

Appendix 3

450

Alok : 2� 3� 5� · · Wa- lo- lo

3� 2� o-

(35) Ba

3

:

2

1

2

Si : 6̣ 1 · ·

1� 2� Kla- sa-

Alok : · ·

6� wa-

(36) Ba

:

1�

Si :

6 1� wong

2 5 mba-

Alok : · (37) Ba

:

1� lo-

3

(38) Ba

:

Si :

6G

6

5

6 6 6 1� ndé- pé ndé-

3

2� 1� 5 Wong su- men

3 2 3 ngen-

5 tè-

:

Si :

2

1

1 3 2 3 Man

1G

2 ni

3 2 1 sim- pé,

3

5 é-

·

(40) Ba

3

6

5

Si : 5 5 · be- nguk Alok :

o o o o o

1� wèng, 5

5 6 man

Alok : :

5 pé,

2

Alok : · 2� 3� 5� · 3� 2� Wa- lo- lo (39) Ba

2� lo...

2� 3� 2� 1� 6 o wèng,

5 6 1� Ma ra- ma

2

1� lo-

2 3 2 1� 6̣ ga- wé,

5

Si : ·

1� né

1�

2 rang

1 wèng,

o

1�

·

o o o 2G

2� 1� 6 5 · 3 2 wå- nå, o

o

o

o

o

o

o

Hok-ya

Music transcription Interlude (41) Ba

:

Si :

3

2

6̣ 1 2 3 6̣ 1 2 Sad é- sod é- sad é- sod

Alok : hok-ya (42) Ba

:

hok-ya 1�

Si : · Alok : e-sod

·

(43) Ba

2

:

3

2 nguk

e-sod

·

hok-ya 1�

(44) Ba

e-sod

:

Si :

·

e-sod

3

e-sod

2 5 pir

3 5 wu-

Alok : lololo lo lo lo (45) Ba

:

Si : (46) Ba

:

Si : (47) Ba

5̣ ra-

2 go-

:

Si :

6 5 6 Ke- ci-

5 1

6 lo

1

6

5G

2 ngu

6̣ ma,

1

5

3 2 ga-

1 nès ·

3 ka-

·

·

1

2 rit

e-sod

6̣ go-

1 6̣ dhong-

hos

· 2 Ja-

·

6̣ nå,

·

1

1 nas

6G

5 3 2 1 wå-

Si : 1 2 1 6̣ 1 2 2 2 Ba- nyu a- dhem ba- nyu a- nget, Alok :

2

6̣ 3 2 3 6̣ 1 2 ndhal én- dhol én- dhal én- dhol,

2 1 Be-

451

5 wung

2 wi-

5̣ é, yah,

2

1

2

1G

5̣ 6̣ 1 ca- ra- ·

5 3 2 di- wi- ru

1 né, 2

1 2 2 wi- ru,

Appendix 3

452 (48) Ba

:

3

Si :

2 2 3 A- ti- né

5 3 bi-

Alok : (49) Ba

:

3

3 3 3 2 2 3 1 2 2 ngung o- ra bi- sa tu- ru, 6 1� O

3

2

Alok : · · 2� 3� 5� Wa lo- lo... (50) Ba

:

5

Si : ·

2G

3

5 6 1� 6 · A- ja

2� é,

3

2

·

·

2

1G

2 ang-

1 · kuh...

Alok :

3� o

2� o

3� 2� o-

(51) Ba

2

1

3

:

Si : 6̣ 1 · · (52) Ba

:

1

2

Si : 1� ke-

6 1� 5 2 an nèng dé-

Alok :

6 wa

(53) Ba

:

6 Dhu-

3

Si : · 2� (54) Ba

:

Si :

2 5 1� Krang- jang

1� se-

1� lo-

2 2� ma-

1

6̣G

2 3 2 1 sa-

6̣ né,

2� lo

3� 2� 1� o

5

6

2� 2� 2� 2� 2� Ri- cik rin- cang a- 3

1� wèng,

2� 6 1� 6 la ri- cik ri- 2

6 5 5 2 2 1 6̣ 1 a- rang pe- nya- wuh wa-

6 wèng, 5 5 cang, 1G 1 lang,

Music transcription Interlude Alok : (55) Ba

2� Wa

3� lo-

:

453

5� · 3� 2� lo

2

1

3

Si : · ·

5

1 2 3 Man

Alok :

· hak-é

(56) Ba

5

3

Si : 6 1� · 5 5 · Pang- ling

1� 6 5 wong-

:

6

Alok : o (57) Ba

· o

:

·

o

·

3

Si :

·

(59) Ba

2

Si : 1� 5 pang- Dho :

X

·

X

·

2

1

3 5 ling ·

3

2

Hok-ya 2 1 ngo-

3 2 ngé, e-sod

·

2 no,

2 su- ·

X

1 e-sod

5

6 6 6 6 pang- ling wong- é X X

X

6̣ ·

6

2 2 a- nget, ·

X

2

3

3

·

·

3 é,

6G

e-sod

:

2G

·

6̣ 1 2 ja ngo- no

·

1

·

X X

o

2

Alok : e-sod

X

·

·

2 5 Pang- ling wo-

Si : 1 2 1 6̣ 1 2 Ba- nyu a- dhem ba-nyu

o

5 man

·

1

:

o

·

5 é-

hok-ya hok-ya

Si : 1

(60) Ba

o

6̣ 1 2 3 6̣ 1 2 Sad é- sod é- sad é- sod

:

Dho :

·

2

Alok : Hok-ya (58) Ba

o

o

1� wèng,

6 ra

· 6

6̣ 6̣ 1 2 wa- ra- ·

5 1 nè,

6̣

5̣ ·

Appendix 3

454

Ketawang Mijil Kethoprak laras pélog pathet nem [performed as jineman] [after item 617] t · 3 · 2 · 6 ·

N 5 ·

t 1 ·

P 6 ·

t 5 ·

N 3G



· 5

·

3

·

5

·

2

·

6

·

5

·

2

·

3G



· 5

·

6

·

3

·

2

·

6

·

5

·

3

·

2G

Suwuk:

·

6

·

2G

·

·

· 2G

1

2

Ketawang Mijil Kethoprak laras pélog pathet nem Cakapan [2 versions]

[Buka celuk]:

Sindhènan : 6 6 6 1� 2�1�2� Ka- dos gus- ti, Senggakan : 6 2� 6 2� Nggo- ling nggo- ling Sindhènan : 1� 2� 3� 1� 6 5 561� 1� Sam- pun te- ngah ra- tri, Senggakan : 3� 1� 2� San- ti- nét, (1) [Ba = Balungan; Si = Sindhènan; Se = Senggakan] Ba : · · · · · · Si

: . Pan-

(2) Ba

:

Si :

1� 2� 1� 6 5 6

:

1

6

1

2

·

3

3

du gi- ning ba-

2 tas,

·

3

·

·

·

·

Se : · (3) Ba

2

·

2

3� 2� 1� 6 · · 1� 2� 3� 6 1� 2� Pi- pa pa- brik sing pa- dha pri- ha- tin,

·

Si : · ·

6

·

1� 2� 3� 1� 2 1� Bi- yung

5 1� 6 5 [yo- a- kah,]

Music transcription Interlude (4) Ba

:

·

1

455

·

Si : · · · Se : (5) Ba

5 6 2 3 [

:

·

Si : 3� 1� 2 (6) Ba

:

Si

:

5

:

:

·

Si : · (9) Ba

:

·

Si : 6 1� 2� · (10) Ba

:

Si

:

Se :

5

3

·

·

5

·

3G

5

5 6 1� ré-

·

6 né, 3

2� 1� 2� 3� · · 2� 1� 1� 6 1� 2� 3� A- ja ngé- cé ka- ro wong o-ra du- wé,

·

Si : · (8) Ba

2� rung

3

Se : · (7) Ba

1� Du-

5 ]

6 5 3 5 · ra- wuh

·

6

5 6 2� Gus-

·

2

1� 2� 1� 2� · ti

2� 1� 3� 3� [ ]

6

·

2� 3� 1� 2� · [a- ] 2

5 2� 3� 2� ra-

·

6 5 3 5 · dé- wa

1� tu 3G

5 1� si-

6 git,

·

·

5

·

6

·

·

·

·

3 5 6 6 6 6 · 6 6 6 5 6 2� 1� 6 Ngé- tan ba- lik ngu- lon a- pa se- dya- né ke- la- kon,

Appendix 3

456 (11) Ba

:

·

Si : · (12) Ba

:

3 1� A-

·

2� på

· 2� ci-

6

2� 3� drå ·

2 1 2� jan- ji, 5P

Si : · 1� 2� 1� 6 5 [Lir- wa] Se : · 1� 2� 3� 6 1� 2� [Nga- na ning ja ngo- no,] (13) Ba

:

·

Si : 7 1� 6 (14) Ba

:

Se :

3 5 3 5 mring wak

·

Wiraswara : 6 6 6 1�2�1� 2� La- li la- li, Senggakan

: 6 2� 6 2� Nggo- ling nggo- ling,

Wiraswara : 2� 3� 2� 12�12�2�2� 3� 2� 1 6 1� Da- tan bi- sa la- li Senggakan : 3� 1� 2� San- ti- nét, Wiraswara : 1� 2� 1� 6 La-

5 was

6

·

2G

·

2G

5 6 5 3 2 3 2 1 2 ra di- wo- lak wa- l ik go- song,

Ketawang Mijil Kethoprak laras pélog pathet nem [performed as jineman] [after item 618] [Buka celuk] :

·

5 6 5 3 2 ing- sun,

6

6 5 3 5 6 5 · [go- rang] go- rèng cang

·

Music transcription Interlude (1) Ba

[Ba = Balungan; Wi = Wiraswara; Se = Senggakan] : · · · · · ·

Wi : (2) Ba

:

·

Se : · (3) Ba

:

:

6̣ 1 23 ya 3

·

·

·

·

2G

21 2 1 2 2 ka- ton, ·

2

3� 2� 1� 6 · · 1� 2� 3� 6 1� 2� Pi- pa pa- brik sing pa- dha pri- ha- tin,

·

Si : · (4) Ba

2 1 sa-

457

6 1� U-

·

·

5

2� 3� 1� 2� 1� · 1� 2� 1� 6 pa- mak- nå, 1

·

Wi : · ·

5

6̣ 1� Wit-

2� wit-

Se : · 6 2 3 5 Tim- lo So- lo, (5) Ba

:

·

Wi : 3� 1� 2� (6) Ba

:

:

:

5

·

·

3

5 6 1� 6 5 3 ge- dhé, ·

3

2� 1� 2� 3� · · 2� 1� 1� 6 1� 2� 3� A- a ngé- cé ka- ro w ong o-ra du- wé,

·

Wi : (8) Ba

6 5 3 5 an kang

·

Se : · (7) Ba

5

5 6 Ti-

2� 1� nu- 6

·

2

2� 1� 2� 3� tuh- an ·

Wi : · 2� 3� 1� 2� ·

5 2� 3� 1� da- tan...

Appendix 3

458 (9) Ba

2

·

Si : 2� · 6 5 3 5 · bi- så

5 6 1� ma- ti,

(10) Ba

:

·

:

·

Se : (11) Ba

3 5 6 6 6 6 Bla- rak di- sam- pir- ké

:

·

Wi : · (12) Ba

:

5

1� Mra-

6

5

3

6

6 6 6 6 5 5 6 2� 1� 6 o- ma- hé cerak o- ra ngam-pir- ké,

3

· 

·

3

2� jak

· 2      2 2 3 · 2 1 1 så- yå se- me... 

6

·

5P

Wi : 2 · 1� 2� 3� 1� 2� · 1� 2� 1� 6 5 tre- snaSe : · 1� 2� 3� 6 1� 2� [Nga- na ning ja ngo- no,]

·

·

(13) [Tempo slows; suwuk] [Dho = Dhodhogan] Ba : · 3

·

2G

Wi : 6 7 6

· 3 2 1 2 2 bu- yung,

Dho :

X

2 1 6̣ 1 2 3 ku ngram-

·

X

Bawaswara Gunung Galunggung laras pélog pathet nem [after item 632] Bawaswara Gunung Galungung: 5 61� 1� 1� 1� 1� 1� 1�6 565 Gu- nung ga- lung- gung ka- pung- kur, 5 6 1� 1� 2�3 2� 2� 61� 6 565 Gu- nung su- me- dhang ka- tun- jang, 1� 1� 1� 1� 1� 1�2� 6 54 Tla- ga sa- go wa- yah- na, 4 4 4 4 4 4 45 3 21 1 1 1 Rang be- cik di- te- ngah gu- wang dhu- nung- an,

·

·

Music transcription Interlude

459

5̣ 6̣5̣6̣ 1 1 1 1 1 1 1 1 1 1 U- lah pun- dhung bu- di sung- kur u- lah sung- kan, 565 3565 3 2121 Ta- di- si- a, 4 5 5 5 5 5 5 5 51� 6 53 Ta- ri ta- ri- ma sa- ga wa- yah- na, 3 3 3 3 35 3 21 Ngan- cik di- ne- ga- ra, 1 65 3 321 1 Di- ma- du- na.

Gending dolanan Mojang Priangan laras pélog pathet nem [after item 635] (1) [Buka celuk] Balungan : · · ·

N · ·

Sindhènan : 1 Hang-

1 kat

1 nga-

2 · 1 1 ga- ndhé-

(2) · Balungan : ·

N ·

P ·

NG ·

1 ngun

1 ta-

2 · 1 1 1 ya ka-ring-ran,

P ·

NG ·

P

Sindhènan : 1 Ba- (3) · P Balungan : ·

N ·

Sindhènan : · 1 1 Ngang- go (4) · Balungan : ·

· P N · ·

1 4 4 · sin- jang

·

P ·

NG ·

NG ·

5 5 di- lam-

5 bang,

· NG

· ·

P N · ·

P

Sindhènan : 5 7 6 Mo-jang Pri-

5 ang-

4 an...

·

5

·

(5) · P N Balungan : · · ·

P ·

NG ·

· ·

P N · ·

2

1

3

4

·

P ·

NG ·

4 ...

N ·

P N ·

NG ·

1 an,

P ·

Sindhènan : ·

P ·

· ·

N · ·

·

3

·

4

2

P NG ·

·

Appendix 3

460 (6) · P Balungan : ·

N ·

P ·

Sindhènan : 1 Hi-

1 mat

1 hi-

(7) · P Balungan : ·

N ·

P ·

Sindhènan : 1 Su-

1 ra

1 su-

NG ·

· P N · ·

2 · 1 1 mut lu- NG ·

· P N · ·

2 · 1 1 ri nya-

(8) · P N Balungan : · · Sindhènan : · 1 1 La- rak

P ·

NG ·

· P N · ·

1 li-

4 · 5 5 rik so-

(9) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 5 7 6 Mo- jang Pri-

5 a-

4 ngan...

(10) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : · 4 ...

3

4

2

1

(11) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 1� Di

1� 1� ra- suk-

2� · 1� 7 an ke- ba-

(12) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 7 Nam-

7 bi-

7 kan

(13) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 6 6 Dhan- dhos-

6 an

7 · 6 5 se- der- ha-

P NG · · 1 cu,

·

P NG · · 1 ri,

·

P NG · · 5 pan,

·

· P N · ·

P NG · ·

·

·

5

3

4

2

· P N · ·

P NG · ·

·

·

·

· P N · ·

· P N · ·

1 · 7 6 ca- ha- ya- · P N · ·

·

P NG · · 7 ya,

·

P NG · · 6 na,

·

P NG · · 5 na,

·

Music transcription Interlude (14) · P Balungan : ·

461

N ·

P ·

NG ·

Sindhènan : 5 5 6 7 Mo- jang Pri-

1� a-

1� ngan,

(15) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 1� Mun-

1� 1� di sang-

� · 1 7 gul a-

(16) · P Balungan : · Sindhènan : 7 Mun-

N ·

P ·

NG ·

7 di

7 sin-

(17) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 6 Mun-

6 di

6 e-

7 · 6 5 rok é-

(18) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 5 7 6 Mo- jang Pri-

5 a-

4 ngan

(19) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : ·

3

4

2

1

(20) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 1 Pi-

1 pi

1 di-

(21) · P Balungan : ·

N ·

P ·

Sindhènan : 1 A-

1 lis

1 di-

(22) · P Balungan : ·

N ·

P ·

Sindhènan : 1 Bi-

1 bir

1 di-

4 ...

· P N · ·

P NG · ·

·

·

·

· P N · ·

· P N · ·

1� · 7 6 jang leng- · P N · ·

7 yu,

·

P NG · · 6 gang,

·

P NG · · 5 nok,

·

P NG · ·

·

·

5

3

4

2

· P N · ·

P NG · ·

·

·

·

· P N · ·

· P N · ·

2 · 1 1 hi- deng- NG ·

P NG · ·

· P N · ·

2 · 1 1 we- dhak- NG ·

·

· P N · ·

4 · 5 5 be- rem-

·

P NG · · 1 an,

·

P NG · · 1 kan,

·

P NG · · 5 kan,

·

Appendix 3

462 (23) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 5 7 6 Mo- jang Pri-

5 a-

4 ngan

(24) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : ·

3

4

2

1

N ·

P ·

NG ·

4 ...

(25) · P Balungan : ·

· P N · ·

P NG · ·

·

·

5

3

4

2

· P N · ·

P NG · ·

·

·

·

·

· P N · ·

P NG · ·

Rebab : 1 1 1 2 · 1 1 (26) · P N P NG · P N Balungan : · · · · · ·

6 1 . P NG · ·

Rebab : 1 1 1 2 · 1 1 (27) · P N P NG · P N Balungan : · · · 4 · 5 5

6 1 . P NG 5 ·

Rebab

5

: 1

1

1

4

·

5

P 7

N 6

P 5

NG 4

· ·

P N 5 3

: 7

6

5

4

N 3 4

P 2

NG 3

(28) · Balungan : 5 Rebab

(29) · Balungan : ·

P 4

Rebab :

4

3 P ·

5 · 1

5

3

P N · ·

2

1 [continues]

NG ·

· P N · ·

(30) · P Balungan : ·

N ·

Sindhènan : 1� Di

1� 1� ra- suk-

2� · 1� 7 an Ke- ba-

(31) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 7 Nam-

7 bi-

7 kan

· P N · ·

1� · 7 6 ca- ha- ya-

6

P NG · 4 2 4

2

P NG · ·

P NG · · 7 ya,

·

P NG · · 6 na,

·

Music transcription Interlude (32) · P Balungan : ·

463

N ·

P ·

NG ·

Sindhènan : 6 6 Dhan- dhos-

6 an

7 · 6 5 se- der- ha-

(33) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 5 5 6 Mo- ang Pri- (34) · P N Balungan : · ·

7 a- P ·

1�

1� ngan, NG ·

· P N · ·

5 na,

·

· P N · ·

P NG · ·

·

·

·

· P N · ·

Sindhènan : 1� Mun-

1� 1� di sang-

2� · 1� gul

(35) · P Balungan : ·

N ·

NG ·

P ·

P NG · ·

7 a-

· P N · ·

Sindhènan : 7 7 7 1� · 7 6 Mun- di sin- jang leng-

P NG · · 7 yu,

·

P NG · · 6 jang,

·

(36) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 6 Mun-

6 di

6 e-

7 · 6 5 rok é-

(37) · P Balungan : ·

N ·

P ·

NG ·

· P N · ·

P NG · ·

Sindhènan : 5 7 6 5 Mo- jang Pri- ang-

4 an...

·

·

(38) · P Balungan : ·

N ·

P ·

NG ·

· P N · ·

P NG · ·

Sindhènan : ·

3

4

2

1

·

·

(39) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 1 Pi-

1 pi

1 di-

4 ...

· P N · ·

·

5

3

·

· P N · ·

2 · 1 1 we- dhak-

P NG · · 5 nok,

4

·

2

·

P NG · · 1 an,

·

Appendix 3

464 (40) · P Balungan : ·

N ·

P ·

NG ·

Sindhènan : 1 1 1 A- lis di- hi- deng- kan, (41) · P Balungan : ·

N ·

P ·

Sindhènan : 1 Bi-

1 bir

1 di-

(42) · P Balungan : ·

N ·

Sindhènan : 5 7 6 Mo- jang Pri-

NG ·

P NG · ·

·

1

1

1

· P N · ·

·

P NG · ·

4 · 5 5 be- rem- kan,

5

P ·

NG ·

· P N · ·

P NG · ·

5 a-

4 ngan...

·

·

(43) · Balungan : ·

P N P · ·

Sindhènan : ·

4

3

2

· P N · ·

NG ·

4

2

1

(44) · P Balungan : ·

N ·

P ·

NG ·

Rebab : 1 . (45) · P Balungan : ·

1

1

2

N ·

P ·

NG ·

5

4

4

·

2

· P N · ·

P NG · ·

· P N · ·

P NG · ·

·

6

1

1

· P N · ·

1

P NG · ·

Rebab : 1 1 1 2 · 1 1

6 .

(46) · P Balungan : ·

N ·

P ·

NG 4

· ·

P N 5 5

P NG 5 ·

Rebab

5

: ·

1

1

1

4

·

5

(47) · Balungan : 5

P 7

N 6

P 5

NG 4

· ·

P N 5 3

: 7

6

5

4

N 3 4

P 2

3

2

Rebab

(48) [suwuk] Balungan : · Rebab

P 4

: 4

4

3

NG 1 1

5

5

3

1

1

6

P NG · 4 2 4

2

Music transcription Interlude

465

Bawaswara Tukang Cukur laras sléndro pathet sanga [after item 660] Sindhènan :

2� 1� \ 2� 2�\ 2� 1�2 \� 5 3 5 65 5 5 I- yak na- pa pé- nak ma- cak ku- rang bre- gas,



3� 2�3� 2� 3�2�1� 3 3 353 2 1 Sa- bab ku- rang te- li- ti,



5 6 6 6 6 6 53 Pé- na dhak jung- kat- an,



6 67 5 2 2 2 2 1 2 1 1 Ing ndhu- kur [dhuhur] ram- but bu- yar ke- na a- gin,



1 6̣1 1 1 3 23 21 Mo- rak ma- rik gak ngang- go



3� 2�3� 2� 1� 61� 65 Ngak ngang- go min- yak,



5 1� 6 2� 1�5 2 6̣5̣1 1G Kon cu- kur- a sing be- cik

6̣1 6̣ 5̣ mi- nyak,

Gendhing dolanan Semarangan Nini Thowok laras sléndro pathet sanga [composed by Nartosabdho] [after item 661] Buka rebab :

5

1�

6

5

3

2

3

1

1

1

1

1

1

1 1G



t

P

t

N

t

P

t

N

t

P

t

N

t

P

t N



·

2

·

1

·

2

·

1

·

3

·

5

·

6

· 5G



·

3

·

5

·

6

·

5

·

2

·

3

·

2

· 1G



·

2

·

1

·

6

·

5

·

2

·

1

·

6

· 5G



·

6

·

5

·

2

·

3

·

1

·

5

·

2

· 1G



·

2

·

1

·

2

·

1

·

5

·

3

·

6

· 5G



5 6

2

1

5

2

3

5

·

6

·

3

·

2

· 1G

··1·· 1· 5

·

1

··1··1·5

·

1

·

6

·

3

·

6

· 5G



·

5

5 1� 6

·

5

·

2

·

3

·

2

· 1G

5 1� 6

Appendix 3

466

·

2

·

1

·

2

·

1

·

5

·

3

·

6

· 5G



·

3

·

5

·

3

·

5

·

2

·

3

·

2

· 1G

[Continues with the following section after tempop speeds up]:

·

2

3

5

·

6

1�

2

·

3

2

2

·

6

1� 5G



· 5 6

5

·

5

6

1

2

·

3

2

2

5

6

1 5G



· 5 6

5

·

5

6

1

2

·

3

2

2

5

6

1 5G



· 5 6

5

·

5

6

1

2

·

3

2

2

2

6

1 5G



·

6

·

5

·

3

·

2

·

3

·

5

·

6

· 5G



·

6

·

5

·

3

·

2

·

3

·

5

·

6

· 5G



·

3

·

2

·

3

·

2

·

3

·

5

·

6

· 5G



·

3

·

2

·

3

·

2

·

3

·

5

·

6

· 5G



·

2

·

1

·

5

·

6

·

5

·

1

·

6

· 5G

Nini Thowok laras sléndro pathet sanga [Text and vocal melody by Nartosabdho] (1) Ba

:

·

2

·

1

·

2

·

1

(2) Ba

:

·

3

·

5

·

6

·

5G

(3) Ba

:

·

3

5

·

6

5

(4) Ba

[tempo slows slightly] : · 2

·

3

·

2

·

1G

(5) Ba

:

·

1

·

6

·

5

·

2

Si : · · 6 1� 2� 1� · 5 6 · Ra- mé gu- gup wan- ci (6) Ba

:

·

2

·

1

·

6

·

1� 5 su- rup 5G

Si : · 5 1� · 5 2� 3� · 1� 6 5 · 5 5 Ni- ni Tho- wok- é mang- gut mang- gut,

Music transcription Interlude (7) Ba

:

·

6

Si : · · (8) Ba

:

Si : (9) Ba

:

· 2 san-

1

·

·

3

5 5 6 · 5 3 · Si- wur di- ré- kå

2 3 ré- kå

·

1 1 1 1 5 dhang- an- é kå-

·

2

·

5

467

5

·

2

·

2

:

Si :

·

5

·

1G

5 6 · 3 2 1 · 1 1 yå wong du- wé nyå- wå, 1

·

2

Si : · 2 5 6 1 · · 2 3 . . Di- ta- lè- ni se- ta- (10) Ba

·

3

5 6 5 2 5 6 1� bi- yung sing u- wis ka- wak

·

6

· 2

1 1

1

gè- né ·

5G

2� 3� 1� 6 5 5 di- sen- dhal sen- dhal,

(11) Ba

:

5

6

2

1

5

2

3

5

(12) Ba

:

·

6

·

3

·

2

·

1G

Si : 5 5 6 6 5 5 3 3 Ra- mé ra- mé a- lok a- lok (13) Ba

: · · 1 · · 1 · 5

Si : · · (14) Ba

:

·

6

·

1 · · 1 · · 1 · 5

6 Ni-

1� · · ni

·

Si : · 5 6 bo- cah-

1� é

(15) Ba

·

:

5

1�

6

Si : · ·

2 5 3 1 2 1 1 am- bé- då Ni- ni Tho- wok,

2 5 Ha-

3

·

3 · ka- 5

5

6

·

1

2� 3� 1� Tho- wok ·

5G

5 6 5 5 5 é o- yak- en, 1�

6

5 · · gi

·

5

2 5 5 am- bå

Appendix 3

468 (16) Ba

:

·

2

·

3

·

Si : · 5 5 · 5 6 · sun- thik yèn da- (17) Ba

:

·

2

·

1

2

·

1G

5 3 2 di mang-

1 1 sa- mu,

·

2

·

1

Si : · 6 1� · 2� 1� · 6 1� · 2� 1� Ni- ni Tho- wok Ni- ni Tho- wok (18) Ba

:

·

5

Si : · 5 6 sing na- (19) Ba

:

·

3

Si : · (20) Ba

:

·

3

·

1� · kal

3 · ka-

·

5

6

·

5G

5 6 5 5 5 é ca- kot- an,

·

3

·

5

5 5 · 6 5 · 3 5 · 6 5 Ni- ni Tho- wok Ni- ni Tho- wok

·

2

Si : · 3 5 Yèn o-

·

3

·

6 ra

2 na-

5 kal

2

·

1G

3 2 1 1 jang- kung- en

(21) Ba

[with unpitched calls] : · 2

·

1

·

2

·

1

(22) Ba

:

·

3

·

5

·

6

·

5G

(23) Ba

:

·

5

·

5

·

5

·

(24) Ba

:

·

2

·

3

·

2

·

1G

(25) Ba

:

·

2

·

1

·

6

·

5

3

6

3

Si : · 6 1� 2� 1� · 5 6 · Ra- mé gu- gup wan- ci

6

5

1� 5 su- rup,

Music transcription Interlude (26) Ba

:

·

2

·

1

469

·

6

·

5G

Si : · 5 1� · 5 2� 3� · 1� 6 5 · 5 5 Ni- ni Tho- wok- é mang- gut mang- gut, (27) Ba

:

·

6

Si : · · (28) Ba

:

Si : (29) Ba

:

·

1

·

2

·

5 5 6 · Si- wur di- ·

2 1 1 1 1 5 san- dhang- an- é ka- ·

5

·

5

:

·

5

·

·

3

5 3 · 2 3 ré- kå ré- kå

·

2

·

1G

5 6 3 2 1 · 1 1 ya wong du- wé nyå- wå, 1

·

Si : · 2 5 1 · · . 6 . Di- ta- lè- ni (30) Ba

2

3

Si : 5 6 5 2 5 6 1� bi- yung sing u- wis ka- wak

·

2

2

·

3

2

1 1

1

se- ta- gè- né 6

·

5G

2� 3� 1� 6 5 5 di- sen- dhal sen- dhal,

(31) Ba

:

5

6

2

1

5

2

3

5

(32) Ba

:

·

6

·

3

·

2

·

1G

Si : 5 5 6 6 5 5 3 3 Ra- mé ra- mé a- lok a- lok (33) Ba

: · · 1 · · 1 · 5

Si : · · (34) Ba

:

·

6

Si : · 5 6 bo- cah-

2 5 3 1 2 1 1 am- bé- då Ni- ni Tho- wok,

·

1 · · 1 · · 1 · 5

6 Ni-

1� · · ni

· 1� é

3

·

3 · ka-

6

·

1

2� 3� 1� Tho- wok ·

5G

5 6 5 5 5 é o- yak- en,

Appendix 3

470 (35) Ba

:

5

1�

6

Si : · · (36) Ba

:

·

2

· 2 5 Ha- ·

Si : · 5 5 · sun- thik (37) Ba

:

·

2

5

·

5

1�

6

5 · · gi 3

·

5 6 · yèn da- 1

·

2

·

5

2 5 5 am- bå ·

1G

5 3 2 1 1 di mang sa- mu, 2

·

1

Si : · 6 1� · 2� 1� · 6 1� · 2� 1� Ni- ni Tho- wok Ni- ni Tho- wok (38) Ba

:

·

5

·

Si : · 5 6 · sing na- (39) [Tempo speeds up] Ba : · 3 Si : · (40) Ba

:

·

3

·

1� 3 · kal ka- 5

·

6

·

5G

5 6 5 5 5 é ca- kot- an, 3

·

5

3 5 · 6 5 · 3 5 · 6 5 Ni- ni Tho- wok Ni- ni Tho- wok

·

2

·

3

·

Si : · 3 5 Yèn o-

6 ra

2 na-

5 kal

(41) Ba

:

·

2

3

5

·

6

1�

2

(42) Ba

:

·

3

2

2

2

6

1�

5G

(43) Ba

:

·

6

5

·

5

6

1�

2

(44) Ba

:

·

3

2

2

2

6

1�

5G

(45) Ba

:

·

6

5

·

5

6

1�

2

5

5

2

·

3 2 1 jang- kung-

1G 1 en.

Music transcription Interlude (46) Ba

:

3

2

2

2

6

1�

5G

(47) [Tempo slows down] Ba : · 5 6

5

·

5

6

1�

2

(48) Ba

3

2

2

2

6

1�

5G

6

·

5

·

3

·

2

5 ba-

1� gèk-

2� a-

2� ké

:

·

471

·

(49) [Chor = Chorus] Ba : · Chor : · (50) Ba

:

·

5 6 Yo a- 3

Chor : · 1� 3� wong lo- (51) Ba

·

6

Chor : ·

5 6 Ni- ni

(52) Ba

:

:

·

Chor : · (53) Ba

1� 3� a- nak-

·

3

Chor : ·

5 3 Ya a-

(54) Ba

:

3

:

·

Chor : · (55) Ba

:

·

5 · yo ·

5

·

6

·

5G

1� ro

2� sing

1� la-

6 gi

1� te-

5 kå,

·

5

·

3

·

2

5 Ni-

1� ni

2� Tho-

2� wok

5 · dhog ·

5

·

6

·

5G

1� mu

2� go-

1� lèk

6 neng

1� dhu-

5 wur,

·

2

·

3

·

2

3 2 1 lèk å-

2 nå

2 · gé

3

·

5

3 klam-

5 bi-

6 né

3

·

2

Chor : · 5 3 Yèn ngan-

2 · ti

1 go- ·

6

5 6 1� sing lé- rék · 1 o-

3

·

5G

6 lé-

5 rék,

·

2

3 2 1 ra bi-

2 sa

Appendix 3

472 (56) Ba

:

·

3

·

5

5 mu-

6 lih

2

·

1

·

2 Yo

2 a-

2 6 yo

5

·

1�

6 rak-

1 a

Chor : · 2 3 ko- wé (57) Ba

:

·

Chor : · (58) Ba

:

Chor :

·

· 6 5 yo su-

·

6

·

5G

6 ba-

5 thok,

5

·

6

6 ya

6 su-

6 rak

·

6

·

5G

5 su-

1 rak,

· Ho-

· ré!

5 6 1 da- di

appendix 4

Music transcription Act 2 (Pathet sanga) Renyep gending kethuk kalih kerep minggah Ladrang Éling-éling Kasmaran laras sléndro pathet sanga [in Solonese style] [after item 674] Buka: [vocal introduction by Garèng (see under item 674)] · · 2

t · 5 3 2 1 · 6̣ 5̣

t N · 5̣ 6̣ 1 2



·

·

2

·

5

3

2

1

·

6̣

5̣

·

5̣

6̣

1 2*



·

3

6

5

·

·

5

·

5

5

·

6

1�

6

5



·

·

5

1�

5

3

2

1

·

6̣

5̣

·

5̣

6̣

1 2G

*

[Signal for speed up and ngelik begins at kenong, as follows]:

6

· · 2

t · 5 3 2 1 · 6̣ 5̣

t N · 5̣ 6̣ 1 2



·

·

·

·

2

1

2

Dhodhogan: [tempo speeds up]

X



6 X

· 3 6 · · X ·

5

3

2

1

·

6̣

5̣

5̣

6̣

5 X

· ·

· ·

5 ·

· ·

5 ·

5 X

· ·

6 ·

1� X ·

6 ·

5 ·

1� ·

5 X

3 ·

2 ·

1 X

· X

6̣ X

5̣ ·

· X

5̣ X

6̣ ·

1 2G · X

1� 1� · · 1� 1� 2� 1� 3� [ngeter] [tempo slows] X

2� X

1� X

2� X

· 1� XX X

6 5&



·

6

2�

1�

·

·

1�

·

3�

2�

1�

2�

·

1�

6

5



·

6

2�

1�

·

·

1�

·

3�

2�

1�

2�

·

1�

2�

5

5

3

2

1

·

6̣

5̣

·

5̣

6̣

1 2G$

· · [lik]

· ·

5 ·

· · 5 1� & [gamelan sirep]

Appendix 4

474 $

[continues with Ladrang Éling-éling in irama wilet, below]

[minggah Ladrang Éling-éling, irama wilet]: t · 3 · 2 · 6̣ · 5̣ · 1 ·

t 6̣ · 3 ·

N 2

· 3 · 2 · 6̣ · 3 · 5 · 6

· · ·

5P

·

1

·

6̣

·

3

·

2

5P

·

1�

·

6*

·

3

·

2

*

· 1 · 6 · [udhar, as follows]:

·

5̣P

·

1

·

6

2 3 5 6 1�



Balungan : Dhodhogan :

1

1� · XX

6 X

3 ·

· 2 1G&

2 ·

& [continues with lik gongan and irama rangkep]:

·

·

1�

·

3�

2�

1�

2�

·

·

2

3

5

6

3

5



1� 1�

·

·

3�

2�

1�

6

2�

1�

5

3

6

5

3

2



·

·

2

3

5

6

3

5

1�

6

5

6

5

3

1

2



·

1

·

6̣

2

1

6̣

5̣

·

1�

·

6

·

3

· 2G$

$

[continues with first gongan of Ladrang Éling-éling in irama wilet]



·

3

·

2

·

6̣

·

5̣

·

1�

·

6

·

3

·

2



·

3

·

2

·

6̣

·

5̣P

·

1�

·

6

·

3

·

2



·

3

·

5

·

6

·

5P

·

1�

·

6

·

3

·

2



·

1

·

6̣

·

1

·

5̣P

·

1�

·

6

·

3

· 2G

Srepegan in Solonese style laras sléndro pathet sanga [with ngelik] [after item 723] Balungan : 5G Buka kendhang : · p o p o p Dhodhogan : XX·XX·XX·XX·XX· [etc.] P P P P P P P t N t N t N t N t N t N t N t N t N t N t N t N t N t N t N t N 6 5 6 5 2 3 2 1G

5

6

2

1

3

2

1

2

3

5

6 5G



2 3

5

6

5

3

5

6

5

3

5

6

3

5

6 5G



3 2

3

5

2

3

5

6

5

1�

5

2

5

3

2 1G

Music transcription Act 2

475



2

1

2

1

3

2

3

2

5

6

1� 6G



1�

6

1�

6

2

1

2

1

3

5

6 5G



6

5

6

5

3

2

1 2G



3

2

3

2

3

5

6 5G*



6

5

6

5

2

3

2 1G

*Suwuk (from gong):

3

2

3 5G

6

5

[suwuk signal, as follows]: 3 2 3 2 3 5 [ngeter]. . . . . . . . . . . .

6

5

6 5G x X

6 5 6 5 X · x · X · x ·

3 2 3 5G x [ngeter]. . .

Srepegan in Solonese style laras sléndro pathet sanga [without ngelik] [after item 731] Balungan : 5G Buka kendhang : · p o p o p Dhodhogan : XX·XX·XX·XX·XX· [etc.] P P P P P t N t N t N t N t N t N t N t N t N t N t N t N 6 5 6 5 2 2 1G** 2 1 2 1 3 2 3 2 5 6 1� 6G 1� 6 1� 6 2 1 2 1 3 5 6 5G* 6 5 6 5 3 2 1 2G 3 2 3 2 3 5 6 5G * Suwuk (from gong): 6 5 6 5 3 2 3 5G [see previous version for signal] ** [alternate playing: 6 1� 5 2 5 3 2 1G]

Sampak in Solonese style laras sléndro pathet sanga [after item 748] Balungan : · · · 5G Buka kendhang : · · b t p p p p Dhodhogan : X X X x [etc.]

Appendix 4

476

P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5 1 1 1 1G 1 1 1 1 2 2 2 2 6 6 6 6G 6 6 6 6 1 1 1 1 5 5 5 5G* *[to Palaran Pangkur Paripurna]:

Continues with Palaran Pangkur Paripurna laras sléndro pathet sanga

[from sampak] N N N N N N N N Balungan : 5 5 5 5G Kendhangan : · · dl t Dhodhogan : XX X · · Dhalang : · · · ·

N N 2 p p · 2 É...

N N 2 p dl ·

N N 5 3 b ·

N 2 t ·

Senggakan : 2 2 2 2 5 3 5 2 Mbok a- ja n yeng- kir wu- lung, [Palaran] Sindhènan : 2 2 2 2 23 321235 561�61�65 2·3216̣ Am-pyak-en kå-yå wong njålå, Senggakan : 5 1� 61� 5 1� 1� Sing sa-yuk sing ru- kun,

6

Sindhènan : 2 2 3 53565 232 2 2 2 21 6̣123 1231 6̣5̣6̣5̣ Re-re-but-en kå-yå men-ja- ngan ma- ti Senggakan : 2� 3� 1� 5 6 1� 6 1� Cing cu- hung a o é o é, Sindhènan : 1� 2�1�3�2�1� 1� 1� 1�2�1� 6 5 1�65 5 61� I- ki sa-tri-yå pi- nun- jul, Senggakan : 1� 2� 1� 2� 5 6 1� 2�3� 1� 3� 5�2� Ku- wi ku- wi å- lå en- di en- di, Sindhènan : 6 1� 2 2 6561�65 2 32 2 1�26 1�6̣ Sek- ti tur man- dra- gu- nå, Senggakan : 1� 2� 1� 5 3 2 2 3 5 6 1� 2� Ngo- no ngo- no ngo- no ngo- no ngo- no ngo-no, Sindhènan : 2� 2� 2� 2� 1� 2� 2�3� 1� 5 321235 1�65 1�65 2 3121 Ka-lo-keng-rat pi-lih tan-dhing a-prang pupuh, Senggakan : 1� 2� 1� 5 3 2 2 3 5 6 1� 2� Ku- wi go- lèk- å- nå go- lèk- å- nå ku- wi,

Music transcription Act 2

477

Sindhènan : 5 6 1� 1� 1� 61�2� 62�1�61�65 2 2321 6̣ Su- rå wrå- tå jå- yå mråtå, Senggakan : 5 6 5 6 5 3 5 a é o é o a o

5 6 5 6 5 3 5 a é o é o a o

Sindhènan : 51�65 5 5 5 532 3532323 16̣5 6̣1 Ta- u ta- té angen- ta- si,

Continues with Srepegan in Solonese style laras sléndro pathet sanga P P P P P t N t N t N t N t N t N t N t N t N t N t N t N 2 1 2 1* 3 2 3 2 5 6 1� 6G 1 6 1 6 2 1 2 1 3 5 6 5G 6 5 6 5 3 2 1 2G 3 2 3 2** 3 5 6 5G 6 5 6 5 2 3 2 1G * [gamelan sirep (signalled by drum)] (items 749-750) ** [to sampak, as shown below]:

Balungan : Dhodhogan :

3 2 3 2 · 5 · 5G · · X X Xx etc.

Continues with Sampak in Solonese style laras sléndro pathet sanga P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5 1 1 1 1G 1 1 1 1 2 2 2 2 6 6 6 6G* 6 6 6 6 1 1 1 1 5 5 5 5G 5 5 5 5 2 2 2 2G 2 2 2 2 5 5 5 5G 2 2 2 2 1 1 1 1G * Suwuk [from gong]: 5 5 5 5G Signal for suwuk: 1 1 1 1 2 2 2 2 6 6 6 6G 5 5 5 5G X X X X X X X etc.

478

Appendix 4

Sampak in Solonese style laras sléndro pathet sanga [after item 759] Balungan : · · · 5G Buka kendhang : · · b t p p p p Dhodhogan : X X X xx P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5 1 1 1 1G 1 1 1 1 2 2 2 2 6 6 6 6G 6 6 6 6 1 1 1 1 5 5 5 5G 5 5 5 5 2 2 2 2G 2 2 2 2 5 5 5 5G 2 2 2 2 1 1 1 1G Suwuk [from gong]: 5 5 5 5G Signal for suwuk (for example): 1 1 1 1 2 2 2 2

6 X

6 X

6 6G X X

Sampak in Solonese style laras sléndro pathet sanga [after item 760, see version after item 759] Srepegan in Solonese style laras sléndro pathet sanga [without ngelik] [after item 761, see version after item 731] Sampak in Solonese style laras sléndro pathet sanga [after item 762, see version after item 759] Sampak in Solonese style laras sléndro pathet sanga [after item 771, see version after item 759] Sampak in Solonese style laras sléndro pathet sanga [after item 777, see version after item 759] Sampak in Solonese style laras sléndro pathet sanga [after item 782, see version after item 759]

5 X

5 5 5G X X etc.

Music transcription Act 2

479

Sampak in Solonese style laras sléndro pathet sanga [after item 787, see version after item 759] Sampak in Solonese style laras sléndro pathet sanga [after item 796, see version after item 759] Sampak in Solonese style laras sléndro pathet sanga (continuing to Ayak-ayakan) [after item 800] Balungan : · · · 5G Buka kendhang : · · b t p p p p Dhodhogan : X X X xx P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5 1 1 1 1G 1 1 1 1 2 2 2 2 6 6 6 6G 6 6 6 6 1 1 1 1 5 5 5 5G 5 5 5 5 2 2 2 2G 2 2 2 2 5 5 5 5G 2 2 2 2 1 1 1 1G* *

to Ayak-ayakan

Continues with Ayak-ayakan in Solonese style laras sléndro pathet sanga [transition from Sampak, as follows]: P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N Balungan : 1 1 1 1 2 2 2 2 5 3 2 1G Dhodhogan : · · · · X X X X · X · · Drum : · b p p p p Ayak-ayakan: t N t · 2 ·

P N t N t 1 · 2 ·

P N t N t 1 · 3 ·

P N 2

t ·

N 6

t N · 5G

Appendix 4

480

P P P t · t N t · t N t · t N t · t N t · t N t · t N

t · t N t · t N



1� 6

5

6

5

3

5

6

5

3

5

6

3

5

6 5G



3 2

3

5

3

2

3

5

1�

6

5

6

5

3

2 1G*



2 3

2

1

2

3

2

1

3

5

3

2

5̣

3̣

5̣ 6̣G

5 3 5 6 5 3 5 6 2 3 2

1

6

5 3  5G**

*

[gamelan sirep (items 804-806), signalled as follows]:



Balungan : Dhodhogan :

5 ·

3 · XX

2 X

1G ·

** [udhar after gong and to Sampak, as shown below]:

Continues with Sampak in Solonese style laras sléndro pathet sanga [from Ayak-ayakan]: P P P P P P P P P P P P P P P P P P · t N · N N N N N N N N N N N N N N N Balungan : 3̣ 5̣G · · 5 5 5 1 1 1 1G Drum : · bt t p p p b b etc. Dhodhogan : · · X XX xx x etc. [Sampak] : N N N N N N N N N N N N N N N N N N N N N N N N 1 1 1 1 2 2 2 2 6 6 6 6G 6 6 6 6 1 1 1 1 5 5 5 5G 5 5 5 5 2 2 2 2G 2 2 2 2 5 5 5 5 2 2 2 2 1 1 1 1G* * [from gong, transition to Srepegan Tangisan]

Continues with Srepegan Tangisan Banyumasan laras sléndro pathet sanga [transition from Sampak, as follows]: P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N Balungan : 1 1 1 1 2 2 2 2 6 5 5 5G Kendhangan : · · · t b p p p p etc.

Music transcription Act 2

481

Dhalang : 5 O... [Srepegan] P P P P P P P t N t N t N t N t N t N t N t N t N t N t N t N t N t N t N t N 2 5 1� 5 1 2 5 3G 5 3 5 3 5 3 2 1G 2 1 2 1 3 5 6 5 6 6 5 6 3 1 2 3G (1) Balungan : 2

5

1

5

1

Dhalang : (2) Balungan : 5

3

5

3

5

2 ·

5

3G

2

1

3 É... 3

Dhalang : 3� 2/ � 2� O...

2/�

1�

(3) Balungan : 2

1

2

1

3

5

6

5

(4) Balungan : 6

6

5

6

3

1

2

3G

(5) Balungan : 5

3

5

3

5

3

2

1G

/ Sindhènan : 3 5 6 5 2 2/ 1 2/ 2 1 Yo mas yo mas, (6) Balungan : 2

1

2

1

3

5

6

5

/ / / 5 6 / 5 Sindhènan : 1 1� 1� 2/ � 2� 3 1� 1� 6 5 6 Su- ling to- yå su- ling to- yå, (7) Balungan : 6

6

Sindhènan :

5

6

3

1

2

3G

1� 2� 1� 2� 3� 6 6/ 5 3 3 6 1� 6/ 6/ 6·653 Su-ling to-yå lo-dhong a-lit ci-nang- king- an,

Alok :

1� O

2� o

3� é

Appendix 4

482 (8) Balungan : 5

3

5

3

5

3

Senggakan : · 3 3 3 3 · 5 3 2 3 · 2 3 5 2 nan-dur ja-é néng ga-leng-an ngko-no ba-é Alok : (9) Balungan : 2

1

2

1

2

1G

· 3 2 3 1 nggo de-leng-an

1� 2� 3� 2� 3� 1� Wa- lo- lo wéng, 3

5

6

5

Sindhènan : 5 6 / 5 6 / 1� 1� 1� 2/ � 3/ � 1� 1� 6 / 5 6/ Ra- ma ta- kok- e- na, (10) Balungan : 6

6

5

6

3

1

2

3G

/ 3 3 2 2 1 21 23 Sindhènan : 3 5 1� 2� 1� 2� 3� 1� 5 6 Ta- kok- e- na wong ba- gus pun-di gri-ya-né, Alok :

1� O

2� o

3� wéng,

(11) Balungan : 5

3

2

1G

Senggakan : · 3 Tung-

3

5

3

5

3 · 5 3 2 3 · 2 3 5 2 · 3 2 3 1 gak ka-yu ja-ti yèn di-peng-gak ma-lah nda-di,

Alok :

1� 2� 3� O o é

2� 3� 1� o wéng,

(12) Balungan : 2

3

6

1

2

1

5

5

Sindhènan :

/ / 5 6 5 6 1� 1� 1� 2/ � 3/ � 1� 2/� 1� 6 5 Ya mas ja- nur gu- nung,

Alok : 5 O

/ 1� 6 a é

/ 1� 6 a é

5

6

(13) Balungan : 6

6

Sindhènan :

3/ � 5� 6/ � o é... 3

1

/ 5 6 / 3 5 2/ � 1� 6

2

3G

6 / 6 / 1� 5 6 / 3 3 6 / 5 3 5 3 3 Ja- nur gu-nung se- ku- lon Ban-jar pa-to-man,

Music transcription Act 2 (14) Balungan : 5

3

5

3

5

483

3

2

1G

Senggakan : · 3 3 3 3 · 5 3 2 3 · 2 3 5 2 · 3 2 3 1 Mi- kul ka-yu gri-mis gri-mis a-yu a-yu mé-dan thuk-nis, (15) Balungan : 2

1

2

1

3

5

6

5

Sindhènan : 5 6 / 5 6 / 1� 1� 1� 2/ � 3/ � 1� 1� 6 / 5 6/ Rå- må ka- di nga-ren, Alok : 3� 5� 6� O é... (16) Balungan : 6

6

5

6

3

1

2/ � 1�

2

6/ 5 6/

3G

/ / 3 Sindhènan : 3 5 2� 2� 1� 2� 3� 6 5 6 3 3 6 1� 5 6 Ka- di nga- ren wong ba-gus ga- sik te-ka-né, Alok : 3 ... (17) Balungan : 5

5

3

5

3

5

3

2

1G

Senggakan : · 3 3 3 3 5 5 3 2 3 · 2 3 5 2 · 3 2 3 1 Ma-nuk pu-dhang nu-cuk-i kla-pa ti-was ka-dhang o-ra te-kå, (18) Balungan : 2

1

2

1

3

5

6

5

Sindhènan : 1� 1� 1� 1� 1� 2� 3/� Li- sus ka- li ke-dhing

6 5 6 3 3 2 3 5 5 je- ro ba-nyu-né mi-li

(19) Balungan : 6

1

6

Sindhènan :

5

6

6 6 1 5 6 Me- neng so-ten

3

2

3G

3 3 3 5 3 3 3 5 3 2 3 3 a-ti- né ba-lar ba-lir- an,

Sampak in Solonese style laras sléndro pathet sanga [after item 818, see version after item 759] Srepegan in Solonese style laras sléndro pathet sanga [without ngelik] [after item 826, see version after item 731]

Appendix 4

484

Ricik-ricik gendhing lancaran Banyumasan laras sléndro pathet sanga [after item 845]

Balungan : 5G Buka bonang : · 2 · 6̣ · 2 · 1 5 · 5 · 5̣ 5̣

t

t

N

t

P

t

N

t

P

t

N

t

P

t N



·

6

·

5

·

2

·

1

·

3

·

2

·

1

· 6G



·

1�

·

6

·

3

·

2

·

3

·

5

·

6

· 5G



Ricik-ricik laras sléndro pathet sanga Sindhènan/Senggakan/Alok

(1) [Ba = Balungan] Ba : · 6 ·

5

·

2

·

1

·

3

·

2

·

1

·

6G

(2) Ba

. :

·

1

·

6

·

3

·

2

·

3

·

5

·

6

·

5G

(3) Ba

:

·

6

·

5

·

2

·

1

·

3

·

2

·

1

·

6G

Alok : 2� 3� 1� Wa lo- lo

2� 3� 1� 6 o wéng,

(4) [slows down slightly] Ba : · 1� · 6

3

·

2

·

3

·

5

·

6

·

5G

(5) [irama lancar] [Wo = Women] Ba : · 6 · 5 · 2

·

1

·

3

·

2

·

1

·

6G

Wo : (5) Ba

:

·

1

·

2

·

2 5 6 1� 1� · 2� 5 2 3 5 6 Ri- cik kum- ri- cik gri- mis- é wis te- kå, ·

3

·

2

Wo : 1� 5 3 2 2 · · Se- dhé- lå ma- ning (6) Ba

:

·

6

·

5

·

2

Wo : 3 2 1 · · Nyong ka- get

·

1

·

3

·

5

·

2 2 6 · · ba- pak- é ·

3

1 1 3 · a- dhuh

·

2

·

6

·

5G

1� 6 5 wis te- kå, 1

·

6G

5 2 6̣ 1 6̣ 6̣ ri- ka m bek- ta na- pa,

Music transcription Act 2 (7) Ba

:

·

1

·

2

·

3

·

2

·

3

485

·

5

·

6

·

5G

Wo : 3 5 3 2 6̣ 6̣ 2 1 · · 6̣ 5̣ Bung- kus pe- thak ni- ku i- si na- pa, (8) Ba

:

·

6

·

5

·

2

·

1

·

3

·

2

·

1

·

6G

Alok : 2� 3� 1� Wa lo- o

2� 3� 1� 6 o wéng,

(9) Ba

5

:

·

1

·

2

·

3

·

2

·

3

·

·

6

·

5G

Alok : 2� 3� 5 3� 2� 6 Wa- lo- lo

6 1� 5 o- wéng,

(10) Ba

1

:

·

6

·

5

·

2

·

1

·

3

·

2

·

·

6G

Alok : 2� 3� Wa lo

1� lo

2� 3� 1� 6 o wéng,

(11) Ba

2

5

:

·

1

·

2

·

3

·

·

3

·

·

6

·

5G

Alok I: lo lo lo lo ek ok ek ek ok ek Alok II: lo lo lo lo ek ek ek ek ek ek ek (12) Ba

:

·

6

·

5

Wo : (13) Ba

:

·

1

·

2

·

2

·

1

:

·

6

·

5

3

·

2

·

1

·

6G

2 5 6 1� 1� · 2� 5 2 3 5 6 Ri- cik kum- ri- cik gri- mis- é wis te- kå, ·

3

·

2

Wo : 1� 5 3 2 2 · · Se- dhé-l å ma- ning (14) Ba

·

·

2

Wo : 3 2 1 · · Nyong ka- get

·

1

·

3

·

2 2 · ba- pak- ·

3

1 1 3 · a- dhuh

·

5

·

6 · é 2

·

6

·

5G

1� 6 5 wis te- kå, 1

·

6G

5 2 6̣ 1 6̣ 6 ri- ka m bek- ta na- pa,

Appendix 4

486 (15) [slows down] Ba : · 1 ·

2

·

3

·

2

·

3

·

5

·

6

·

5G

Wo : 3 5 3 2 6̣ 6̣ Bung- kus pe- thak ni- ku

2 1 · · 6̣ 5̣ i- si na- pa,

(16) [irama tanggung] Ba : · 6 · 5

·

·

2

·

1

·

3

2

·

1

·

6G

Men : · 1� 2� 1� 61�1� 2� 1� 2� 5 5 5 5 5 5 1� 6 Kiyé gendhing lèh- olèh kang larang pitukoné, (17) Ba

:

·

1

·

2

·

3

·

2

·

3

·

5

·

6

·

5G

Wo : 3� 2� · 5 3 2 2 2 · 2 3 5 6 6 · 5 6 6 · 1� 5 Pin- ten pi- tu- kon-é pak kula sagah-gah sagah-gah mawon, (18) Ba

:

·

6

·

5

·

2

·

1

·

3

·

2

·

1

·

6G

Men : · 1 1 1 5 6 2 1� · 6 5 · lah i- ya yam- pak- e- na gen- dhing

6 2 1 6̣ a- ja bo-sen,

(19) Ba

·

:

·

1

·

2

Wo : · 6̣ 1 6̣ · É-to- bil (20) Ba

:

·

6

·

5

Men : (21) Ba

:

·

1

·

2

·

3

·

2

·

3

·

5

6

·

5G

3 5 3 2 5 3 5 · 1 6̣ · 5̣ 1 · 6̣ 5̣ je- bu- lan- é gam- bar- é ca- lon- é kang- mas- é, ·

2

·

1

·

3

·

2

·

1

·

6G

1� 1� 1� 1� 2� 1� 2� 5 5 2� 1� 2� 5 1� 6 Ki- yé gendhing lèh olèh kang larang pitukoné, ·

3

·

2

·

3

·

5

·

6

·

5G

Wo : 3� 2� · 5 3 2 2 2 · 2 3 5 6 6 · 5 6 6 · 1� 5 Pin- ten pi- tu-kon-é pak kula sagah-gah sagah-gah mawon, (22) [Tog = Together] Ba : · 6 ·

5

·

2

·

1

·

3

·

2

·

1

·

6G

Tog : · 1 1 1 5 6 2� 1� · 6 5 · lah i- ya yam- pak- e- nå gen- dhing

6 a-

2 1 6̣ ja bo- sen,

Music transcription Act 2 (23) [slows down] Ba : · 1 ·

2

Tog : · 6̣ 1 6̣ · É- to- bil

·

3

·

2

·

3

487

·

5

·

5

·

2

Si : · · · · · 1� 2� Ra- ma Alok: 6 1� 2� 6 1� Wa- lo- lo :

·

3

Si : · ·

·

5G

3 5 3 2 5 3 5 · 1 6̣ · 5̣ 1 · 6̣ 5̣ je- bu- lan- é gam-bar-é ca-lon- é kang- mas-é,

(24) [irama dados] [Si = Sindhènan] Ba : · 6 ·

(12) Ba

6

6 5 o wéng,

·

2

·

1

1� 6 1� 1� ra- ma

·

·

·

·

·

1

·

6G

1� 2� 1 6 1� · nja- luk ma- dhang

5� 2 la- wuh

2 3 2 1 6̣ u- yah,

Alok: Héh! (13) [Se = Senggakan] Ba : ·

1

·

2

Si : · · · · Se : · (14) Ba

:

3

Si : 2 2 · ra- ma (15) Ba

:

·

·

3

·

5

·

·

·

·

6

·

5G

5

·

6 2 3 5 da- di lu- rah,

2

Si : · · · · · 1� 2� Ra- ma Se : 5 1� 6 Lu- rah- é (16) Ba

:

·

2

·

2 3 5 5 · 5 · ja- luk bo- jo sing

6

·

2 2 2 2 2 1 1 1 6̣ 1 2 2 É-moh ma- dhang lawuhé uyah

6̣ 1 6̣ 1 6̣ 6̣ O- ra na- na u- yah,

·

·

·

1

1� 6 1� 1� ra- ma

5 6 5 5 lu- rah dong-kol,

3

·

2

·

Si : · 1� 2� · 1� 6 1� · nja- luk wé- dang Alok: Héh!

1

5 2 la- wuh

·

6G

2 6̣ 1 6̣ 6̣ ka- rag,

Appendix 4

488 (17) Ba

:

·

1

·

2

·

3

·

2

Si : · 2 2 2 2 2 1 1 1 6̣ 1 2 2 E-moh ma-dhang la-wuh-é ka-rag Se : · (18) Ba

:

6̣ 1 6̣ 1 6̣ 6̣ O- ra na- na ka- rag

·

Si : 2 2 ra-ma (19) Ba

:

·

3 ·

·

5

·

6

· 5G

2 3 5 5 5 · 6 2 3 5 5 nja-luk bo- jo sing tu- kang ngre- kam,

6

·

5

·

2

·

Si : · 1� 2� · Ra- ma . Se : (20) Ba

:

5 1� 6 O- léh- é ·

6 1� ra- ma

5 6 5 5 ba- kul ji- pang,

3

Si : ·

1

·

2

·

1 2 1 6 1 · nja- luk ma- dhang

1

5 2 la- wuh

·

6G

2 3 2 1 6̣ tra- si,

Alok: Héh! (21) Ba

:

·

1

·

2

Si : · · · · Se : · (22) Ba

:

6̣ 1 6̣ 1 6̣ 6̣ O- ra na- na tra- si,

·

3

3

·

2

2 2 2 2 2 1 1 1 6̣ 1 2 2 E- moh madhang la-wuh-é tra-si ·

·

5G

2 3 5 5 5 5 6 2 nja- luk bo- jo sing da- di po-

3 5 li-

5 si,

2

·

1

Si : · · · · · 1� 2� Ra- ma

·

·

:

·

6

·

5

·

·

·

(23) Ba

5

·

6

Si : 2 2 · ra- ma

·

·

·

Music transcription Act 2 Se :

5 1� 6 5 5 6 5 5 O- léh- é bakul ci- am- si,

489

·

·

·

Alok :

·

·

·

·

·

· Héh!

(24) Ba

·

3

·

2

·

1

:

Si : · 1� 2� · 1� 6 1� · nja- luk mé- dang l (25) Ba

:

·

1

·

2

Si : · · · · Se : ·

·

·

6G

5 2 2 3 2 1 6̣ a- wuh ge- dang,

·

3

·

2

2 2 2 2 2 1 1 1 6̣ 1 2 2 E- moh mé-dang la-wuh-é gedhang

6̣ 1 6̣ 1 6̣ 6̣ O- ra na- na ge- dhang,

·

·

·

·

Dhodhogan: ·

·

·

X X

·

·

·

XX

(26) [speed up] Ba : ·

3

·

5

·

6

·

5G

Si : 2 2 · ra- ma

2 3 5 5 nja- luk bo- jo

Dhodhogan: (27) Ba

:

Se :

·

6

·

X X 5

·

2

·

XX 1

5 1� 6 5 6 5 5 Ya ngo- noh a- ri ge- lem,

Dhodhogan: (28) [Dho = Dhodhogan] Ba : · 3 Se

5 6 2 3 5 5 sing da-di dha- lang,

·

X X

XX

2

·

1

·

6G

: É... É...

É-

hè

é-

hè

X X X X

XX

Dho : X X (29) Ba

[irama tanggung] : · 1

·

2

·

3

·

2

Se

:

é-

hè

é-

hè

é-

hè

X X

·

X

XX

É-

hè

Dho : X X

Appendix 4

490 (30) Ba

:

·

3

·

5

·

6

·

5G

Se

:

é-

hè

é-

hè

·

·

hok

ya,

Dho :

X

X X X

·

X

·

X

·

X X

X

5

1

·

3

·

2

(31) Ba

[2 = 1] : · 6

·

·

2

·

·

1

·

6G

Alok : hok- yah · hak- é hak- é 2� 3� 1� 6 ho- wèng Dho :

X X XX · X · X · XX X

X

X

X

· X · X ·

X

·

(32) Ba

·

·

3

·

5

·

5G

:

Alok:

1

·

hé

2

·

·

3

·

hé

2

·

6

·

hé

·

é

é

Dho :

X X

X

· X X X

X

· X X

X

X

·

X

·

X

·

(33) Ba

·

·

5

·

1

3

·

2

·

1

·

6G

:

Alok I:

6

·

2

·

é

é

é

·

·

·

· hok-yah

Alok II: · · o- wèng

·

·

·

·

2

3� 2� 1�

Dho :

X

·

X

·

X

·

·

·

X

X XX · X · X ·

X

X

(34) Ba

·

1

·

2

·

3

·

2

·

3

·

5G

:

Alok: hok- yah hak- é Dho :

X X XX · X · X ·

(35) Ba

·

:

6

·

5

·

2

XX X XX ·

1

·

·

5

·

6

6

hak- é hok-yah X XX · X · X ·

X

·

3

·

6G

·

2

·

1

Alok : é · é · · 2� 3� ho-

1� 6 o- wéng

Dho : XX X

X

·

(36) [suwuk] Ba : · 1

·

2

·

Dho :

X

·

X

X

·

XX X

X

·

XX

X

·

·

X

·

X

·

3

·

2

·

3

·

5

·

6

·

5G

·

X

· X · X · X ·

X

Music transcription Act 2

491

Éling-éling gendhing lancaran Banyumasan laras sléndro pathet sanga [after item 854] Buka saron : 5 5 3 2 1 1 3 1 2 3 1 6 5G Note: balungan is not sounded (saron sanga plays elaboration on balungan, as shown in notation below) t

· N t

P · t

· N t

P · t

· N t

P · P · P · t · t N t



·

6

·

5

·

6

·

3

·

6

·

3

·

6

· 5G



·

6

·

5

·

6

·

3

·

6

·

3

·

6

· 5G



·

2

·

1

·

2

·

1

·

2

·

3

·

5

· 3G



·

5

·

3

·

2

·

1

·

3

·

2

·

3

· 5G



· ·

Éling-éling laras sléndro pathet sanga [traditional Banyumas text]



Buka saron [saron sanga]: 5 5 3 2 1 1 3 1 2 3 1 6 5G Hok- yah!

(1) [Ba = Balungan; Sar = Saron sanga] Ba : · 6 · 5 · 6 ·

3

·

6

·

3

·

6

· 5G

Sar

3

2

3

5

1�

6

5

é

·

:

·

6

·

5

1

1

2

3

3

Alok :

· oh

·

·

é

oh

é

·

é oh

é

·

é

oh

(2) Ba

:

·

6

·

5

·

6

·

3

·

6

·

3

·

6

· 5G

Sar

: 5

6

6

5

1

1

2

3

3

3

2

3

5

1�

6

5

·

·

Alok :

· oh

·

·

·

oh

·

·

·

oh

·

·

·

oh

(3) Ba

:

·

2

·

1

·

2

·

1

·

2

·

3

·

5

· 3G

Sar

:

5

5

6

1�

1�

5

6

1�

1�

5

1�

6

3

6

5

3

·

·

·

oh

·

·

·

oh

·

·

·

oh

·

lo

Alok :

· oh

Appendix 4

492 (4) Ba

:

·

5

·

3

·

2

·

1

·

3

·

2

·

3

· 5G

Sar

:

3

3

3

3

5

3

2

1

3

2

1

3

1

2

3

5 é

Alok :

lo lo

lo lo

lo

lo

lo lo

·

·

·

é

·

é

·

(5) Ba

:

·

6

·

5

·

6

·

3

·

6

·

3

·

6

· 5G

Sar

:

5

5

1�

6

5

3

2

3

1

3

1

2

3

1�

6

Alok: ·

é

·

é

·

é

·

é

·

é

·

é

·

é

·

é

(6) Ba

:

·

6

·

5

·

6

·

3

·

6

·

3

·

6

· 5G

Sar

:

5

6

6

5

6

1

2

3

3

3

2

3

5

1�

6

5

Alok :

·

é

·

é

·

é

·

é

·

é

·

é

·

é

·

é

(7) Ba

:

·

2

·

1

·

2

·

1

·

2

·

3

·

5

· 3G

Sar : Alok :

5

5

6

1�

1�

5

6

1�

1�

5

1�

6

5

3

2

3

·

é

·

é

·

é

·

é

·

é

·

é

·

·

·

·

5

(8) Ba

:

·

5

·

3

·

2

·

1

·

3

·

2

·

3

· 5G

Sar

:

3

3

6

5

6

3

2

1�

1�

1�

3�

2�

3�

1�

6

5

Alok :

·

·

·

·

·

·

·

·

·

oh

· oh

·

oh

·

oh

(9) Ba

:

·

6

·

5

·

6

·

3

·

6

·

3

·

6

· 5G

Sar

:

5

6

6

5

1

1

2

3

3

3

2

3

5

1�

6

Alok :

é oh

é oh

é

oh

(10) Ba

:

·

6

·

5

·

Sar

:

5

5

6

5

Alok :

é oh

é oh

5

é oh

é oh

é oh

é

oh

é oh

6

·

3

·

6

·

3

·

6

· 5G

1�

6

5

3

1

3

1

2

3

1�

6

é

oh

5

é oh

é oh

é oh

é

oh

é oh

(11) [slows down] Ba : · 2 ·

1

·

2

·

1

·

2

·

3

·

5

· 3G

Sar

1�

5

1�

6

3

1

2

:

5

5

6

1�

1�

5

6

1�

Alok :

·

o

é

o

·

o

é

o

3

la... hak

Music transcription Act 2

493

(12) Ba

[Si = Sindhènan] : · 5 · 3

·

2

·

1

·

3

·

2

·

3

· 5G

Sar

:

5

6

3

2

1

1

6

2

1

5

2

3

Si : · · · ·

·

· 1� 1� 1� 1� · 1� 2� 3� · 1� 6 5 6 333 2 3 5 5 -ling é-ling sa-pa é-ling ba-li-ya ma-ning, É

3

3

6

5

(13) [irama dados, 1=2] [Se = Senggakan] Ba : · 6 · 5

·

6

·

3

Sar

1

6

3

1

3

·

6 1� Ja- nur

5 gu-

6

5

:

2

5

6

5

2

5

5

3

Si : · · · · Se : 5 5 6 1� 6 5 5 Pa é- ling ba- li ma- ning, Alok : · · · ·

3

·

·

·

é 5G

(14) Ba

:

·

6

·

3

·

6

·

Sar

:

1

6

1

·

5

6

1

3

3

Si : 3 · nung,

3

3

5

1

5

1� 1� 2� 6 1� 5 3 Sa- ku- lon Ban- jar pa-

6

5

6 1� 5 to- man,

Alok :

·

é

·

·

é

·

é

·

(15) Ba

:

·

6

·

5

·

6

·

3

Sar

: 5

2

6

2

·

1

6

1

·

5

5

5

Si : · · · ·

3

3

3

3 3 3 3 Ma- ra- ma ka-

3

3 5 2 di nga-

Se : 5 6 5 6 1� 6 1� 1� Sa- ku- lon B an-jar pa- to- man,

·

·

·

·

Alok :

·

·

·

·

·

·

·

é

(16) Ba

·

6

·

3

·

6

·

5G

:

Sar : 3 1 3 6 3 1 3 · 5 5 1� 6 5 1� 6 5 Si : 3 2 3 3 3 5 3 2 5 5 ren, Kang ba- gus ga- sik te- ka- né, Alok :

·

é

·

·

é

·

é

·

Appendix 4

494 (17) Ba

:

·

2

·

1

·

2

·

1

Sar

:

5

6

5

·

5

6

5

1�

·

6

1�

5

5

1�

1�

1�

1�

1�

Si : · · · · · 5 Mas...

Se : 5 6 5 6 1� 6 1� 1� · 2 1 2 1 1 Sa- ku- lon Ban-jar pa- to- man, O- a- lah- i- ya, (18) Ba

:

·

2

·

3

·

5

·

Sar

:

5

6

5

1�

3

5

1

1�

1�

1�

6

3

6

3

2

3G 3

Si : ·

6 Ka-

1� 2� 1� 5 6 5 di nga-

Alok : · 1� Wa-

2� lo-

3� 1� 6 5 6 5 3 lo wèng,

(19) Ba

:

Sar

:

·

· 3 ·

3

5 3

·

· 3 ·

3

3 rèn

3

·

2

·

1

3

3

5

3

1

3

6

6

2

Si : · · · · 3 Ka-

5 6 1� di nga- rèn,

Se : · · · · 3 Ka-

5 6 1� di nga- rèn,

Alok :

lo

lo lo

(20) Ba

:

·

3

Sar

:

·

5

5

lo

5

lo

lo

·

·

·

·

·

·

2

·

3

·

5G

1�

6

5

1�

6

1�

6

5

1�

6

5

Si : · 1� 6 Kang ba-

1� gus

2� · ga-

1� 6 sik te-

1� 6 5 ka- né,

Se : · 1� 6 Kang ba-

1� gus

2� · ga-

1� 6 sik te-

1� 6 5 ka- né,

(21) [Chor = Chorus] Ba : ·

6

·

5

·

6

·

3

Sar

2

5

·

·

6

3

3

:

5

Chor : ·

3

3

·

·

3 6 3 5 · · · · Pa- ra ka- nca

1�

5

2

2� 1� 5 3 2 3 a- pa pa- dha nger-ti,

Music transcription Act 2

495

(22) Ba

:

·

6

·

3

·

6

·

Sar

:

·

3

3

·

5

6

1�

Chor : ·

5

2

·

2 1 2 3 · · A- nu a- pa

5

1�

5

6

5G 5

2� 1� 6 1� 5 3 6 5 wo- hing a- rèn ko- wé a- pa,

(23) Ba

:

·

6

·

5

·

6

·

3

Sar

:

5

2

5

·

5

6

3

3

Chor : ·

3

3

·

5

1�

5

2

3 6 3 5 · · · · 2� 1� 5 3 2 3 U- wis nger- ti ku- wé meng- ko te- ges,

(24) Ba

:

·

6

·

3

·

6

·

Sar

:

·

1

3

·

5

6

1�

2

2

·

Chor : · 2 1 2 3 · · Sing ke- pri- mèn

5

1�

5

6

5G 5

2� 1� 6 1� 5 3 6 5 su- pa- ya kon pa- dha é- ling,

(25) Ba

:

·

2

·

1

·

2

·

1

Sar

:

5

6

5

·

5

6

5

1

Chor : ·

1�

1�

1�

1�

5 1� 5 3 2 1 · É- ling ma- ring tem- bung

1�

1�

6̣ 2 1 · ta- te- lu

6

6̣ 2 1 te- ge- sé,

(26) Ba

:

·

2

·

3

·

5

·

Sar

:

5

6

5

1�

2

1

5

1�

1�

1�

6

5

3

2

6

3G 3

Chor : 5 3 5 2 3 5 3 · 2 1 5 1� 6 5 3 Se- pi- san ta- ta kra- ma pin- dho- né ku- wé te- men, (27) Ba

:

·

5

Sar

: · 3

·

3

3

· 3 ·

Chor : · 3 3 · Ka- ping (28) Ba

:

Sar

:

·

· 1�

1�

· 6 te-

3

3

·

2

·

1

3

3

5

3

1�

3

6

6

2

5 6 · · 3 2 1 3 2 1 lu ku- wé te- pa sli- ra,

3

·

2

·

3

·

5

1�

2�

3�

1�

6

5

Chor : · 1 1 · · Da- di

1�

2�

3�

1�

3 2 3 · 1 6̣ 5̣ sis- wa sing u-

6

5G 5

1 6̣ 5̣ ta- ma,

Appendix 4

496

(29) Ba

:

·

6

·

5

·

6

·

3

Sar

:

2

6

2

·

1

6

1

·

5

5

5

5

3

3

3

3

Si : · · · · 3 3 5 3 2 3 Jam- bé nda- wé, (30) Ba

:

·

6

·

3

·

6

·

Sar

:

1

6

1

·

5

6

1�

3

3

3

3

1�

5

5

3 si-

(31) Ba

:

·

6

·

5

·

6

·

3

Sar

:

2

6

2

·

1

6

1

·

5

5

5

5 5 3 pa- ra se-

6

Si : 2 di-

5

3 · gar

5

5G

3

Si : · · · · Se : 5 5 5 6 5 6 5 5 Di- si- gar da- di se- la- wé,

3

3

6 1� A- mung

2 5 5 la- wé,

3

6 5 3 a- mung si-

(32) Ba

:

·

6

·

3

·

6

·

Sar

:

1

6

1

·

5

6

1�

Si : (33) Ba

3

3

3

3 1� 1� ji sing da-

:

·

2

Sar : 5 1� 6 1� Si : · ·

5

1�

5

5

2 5 a-

5 ti,

6 1� pi-

·

1

·

2

·

1

5

·

5

6

5

6

1�

1�

1�

5 6 Yo mas

: 5 5 5 6 1� 2� Sing da-di pi- li- han a- ti,

(34) Ba

:

1�

5 3 li- han

6

2 di

Se

1�

1�

5

6

1�

·

1�

2

·

3

·

5

·

3G

Sar : 1� 5� 1� 6 1� Si : 5 6 1� A- mung

5 6 1� si-

1� 3 1� ji

1 3 6 3 1� 5 3 a- mung

1 3 3 si-

· 3 ji,

:

lo

Se

·

3

5G

Music transcription Act 2

497

(35) Ba

:

·

5

·

3

·

2

·

1

Sar

:

1

6

1

·

5

6

5

6

1�

3

3

3

3

1�

1�

1�

Si : · · · ·

3 5 A- mung

6 si

1� ji,

Se : lo lo lo lo lo lo lo ·

3 5 A- mung

6 si

1� ji, 5G

(36) Ba

:

·

3

·

2

·

3

·

Sar

:

5�

6

5

1�

1�

2�

1�

1�

1�

1�

Si : · 1� 6 Sing da- Se : · 1� 6 Sing da-

6

1�

3�

3�

6

5

1� di

2� · pi-

6 li-

1� 6 5 han a- ti,

1� di

2� · pi-

6 li-

1� 6 5 han a- ti,

(37) Ba

:

·

6

·

5

·

6

·

3

Sar

:

5

2

5

·

·

6

3

3

Chor : · (38) Ba

:

3

·

·

3 6 3 5 · · · · Pa- ra ka- nca

·

Sar : · Chor : ·

3

2

1�

5

2

2� 1� 5 3 2 3 a- pa pa- dha nger- ti,

6

·

3

·

6

·

1

3

·

5

6

1�

2

·

2 1 2 3 · · A- nu a- pa

5

1�

5

6

5G 5

2� 1� 6 1� 5 3 6 5 wo- hing a- rèn ko- wé a- pa,

(39) Ba

:

·

6

·

5

·

6

·

3

Sar

:

5

2

5

·

5

6

3

3

Chor : ·

3

3

·

·

1�

5

2

3 6 3 5 · · · · 2� 1� 5 3 2 3 U- wis nger- ti ku- wé meng- ko te- ges,

Appendix 4

498 (40) Ba

:

·

6

·

3

·

6

·

Sar

:

·

1

3

·

5

6

1�

2

2

·

Chor : · 2 1 2 3 · · Sing ke- pri- mèn

5

1�

5

6

5G 5

2� 1� 6 1� 5 3 6 5 su- pa- ya kon pa- dha é- ling,

(41) Ba

:

·

2

·

1

·

2

·

1

Sar

:

5

6

5

·

5

6

5

1�

Chor : ·

1�

1�

1�

1�

5 1� 5 3 2 1 · É- ling ma-ring tem-bung

1�

1�

6̣ 2 1 · ta- te- lu

6

6̣ 2 1 te- ge- sé,

(42) Ba

:

·

2

·

3

·

5

·

Sar

:

5

6

5

1�

2

1

5

1�

1�

1�

6

5

3

2

6

3G 3

Chor : 5 3 5 2 3 5 3 · 2 1 5 1� 6 5 3 Se- pi- san ta- ta kra- ma pin- dho- né ku- wé te- men, (43) Ba

:

Sar

: · 3 · 3

·

5

·

3 · 3 ·

Chor : · 3 3 · Ka- ping

3

3

·

2

·

1

3

3

5

3

1�

3

6

6

2

6 5 6 · · 3 2 1 3 2 1 te- lu ku- wé te- pa sli- ra,

(44) Ba

:

·

3

·

2

·

3

·

Sar

:

1�

5

1�

2�

3�

1�

6

1�

5

Chor : · 1 1 · · Da- di

1�

2�

3�

1�

3 2 3 · 1 6̣ 5̣ sis- wa sing u-

6

5G 5

1 6̣ 5̣ ta- ma,

(45) Ba

:

·

6

·

5

·

6

·

3

Sar

:

2

6

2

·

1�

6

1

·

5

5

5

5

3

Si : · · · · Se : · 6 5 6 5 5 O a- lah i- ya,

3

3

3

6 1� 5 6 5 3 Su- ling to- ya,

Music transcription Act 2

499

(46) Ba

:

·

6

·

3

·

6

·

Sar

:

1

6

1

·

5

6

1�

3

3

3

3

5

1�

5

5

Si : 1 1 Lo- dhong

2 a-

6 1� lit

(47) Ba

:

·

6

·

5

·

6

·

3

Sar

:

2

6

2

·

1

6

1

·

5

5

5

5

3

Si : · · · ·

5 3 ci- nang-

6

5G

3

3

6 1� 5 ki- ngan,

3

3 3 5 · 3 3 Ta- kok- ke-

Se : 5 5 5 6 5 6 5 5 Lo- dhong a- lit ci- nang- ki- ngan, (48) Ba

:

·

6

·

3

·

6

·

Sar

:

1

6

1

·

5

6

1�

3

3

3

Si : 3 3 3 na kang ba-

3

3 · gus

5

1�

5

3 5 3 pun- di gri-

6

5G 5

2 5 5 ya- né,

(49) Ba

:

·

2

·

1

·

2

·

1

Sar

:

5

6

5

·

5

6

5

1�

1�

1�

1�

1�

1�

1�

1�

6

Si : · 5 6 1� Ra- ma, Se : 5 5 5 6 5 6 5 5 Wong ba- gus pun- di gri- ya- né, Alok : · · · · · 1� · 3 1 O- wèng, (50) [transition back to irama lancar] Ba : · 2 ·

3

·

5

·

Sar

1�

2

1

5

:

1�

5

1�

6

1�

5

6

5

3

2

Si : 1� 1� Ta- kok-

1� ke-

1� na

Alok : · 1� Wa-

2� lo-

3� 3� 1� 5 lo-

2

3G 3

1� 1� 5 3 5 3 3 lah ta- kok- ke- na, 2 3 3 o- wèng,

Appendix 4

500 (51) [speeds up] Ba : ·

5

·

3

·

2

·

1

Sar

3

6

5

6

3

2

1

3 5 Ta- kok-

6 ke-

1� na,

Alok : · · · · 1� 1� Dhu- wa

2�

3�

lo-

lo

:

3

Se : · · · ·

(52) Ba

:

·

3

·

2

·

3

·

5G

Sar

:

5

3

1

5

1

2

3

5

Se : 1� 6 1� 2� 1� 6 1� 6 5 Kang ba- gus pun- di gri- ya- né, Alok : · 2� 3� 5� 3� 1� 6 5 o- wèng, (53) [irama lancar] Ba : · 6 ·

5

·

6

·

3

·

6

·

3

·

Sar

5

1

1

2

3

3

3

2

3

5 6 1�

:

5

6

6

6

· 5G 6

5

Si : · · · · 3 3 3 3 3 3 3 3 3 5 3 2 5 5 Ri- cik rin- jang kran- jang a- rang pen- ya- wuh wa- lang, (54) Ba

:

·

6

·

5

·

6

·

3

·

6

·

3

·

6

· 5G

Sar : 5 5 5 5 1 1 2 3 3 3 2 3 5 6 1� 6 5 Si : · · · · 6 1� 2 3 3 3 3 3 5 1� 6 5 Pang- ling wo- ngé o- ra pang- ling su- wa- ra- né, (55) Ba

:

·

2

·

1

·

2

·

1

·

2

·

3

·

5

· 3G

Sar

:

5

5

6

1�

1�

5

6

1�

1�

5

1�

6

3

1

2

3

Si : · 5 2 3 2 1 · 6 1 5 6 5 Ra- ma pang- ling wong-

3 é,

(56) Ba

:

·

5

·

3

·

2

·

1

·

3

·

2

·

3

· 5G

Sar

:

3

3

6

5

6

3

2

1

3

1

2

3

1

2

3

5

Si : · · · · 3 5 6 1� 1� 6 1� 2� 1� 6 1� 6 5 Pang- ling wo- ngé o- ra pang- ling su- wa- ra- né,

Music transcription Act 2

501

(57) Ba

:

·

6

·

5

·

6

·

3

·

6

·

3

·

Sar

:

5

6

6

5

6

1

2

3

3

3

2

3

5 6 1�

Si : · · · ·

3 3 3 3 Li- sus ka- li

6

· 5G 6

5

3 3 3 3 5 3 2 5 5 ke- dung je- ro ban- yu mi- li,

(58) Ba

:

·

6

·

5

·

6

·

3

·

6

·

3

·

6

· 5G

Sar

:

5

6

6

5

6

1

2

3

3

3

2

3

5

1�

6 5

Si : · · · · 3 3 3 3 Me- meng so- tèn

3 3 3 3 5 3 2 5 5 a- ti- né bo- lar ba- lè- ran,

(59) Ba

:

·

2

·

1

·

2

·

1

·

2

·

3

·

5

· 3G

Sar

:

5

5

6

1�

1�

5

6

1�

1�

5

1�

6

5

3

2

Si : · · · · ·

3

5 6 1� · 6 1� 5 6 5 3 Yo mas me- neng so- tèn,

(60) Ba

:

·

5

·

3

·

2

·

1

·

3

·

2

·

3

· 5G

Sar

:

3

3

6

5

6

3

2

1�

1�

1�

3�

2�

3�

1�

6

5

Si : · · · · 3 2 1 1 Me- neng so- tèn

1 1 3 2 1 6̣ 1 5̣ a- ti ku bo- lar ba- lè- ran,

(61) [Suwukan embèl-embèl] Ba : 5 5

6

1�

2�

1�

3�

1�

2�

1�

6

1� 5G

Kendhang :

d

p

L

b T

b

p

L

d

Srepegan Tangisan Banyumasan laras sléndro pathet sanga [after item 856] Balungan : 5G Buka kendhang : · · _ d · d · d _ _ Dhodhogan : x x · x x · x x · x x · x x x · P P P P P P P t N t N t N t N t N t N t N t N t N t N t N t N t N t N t N t N 6 5 6 5 1 2 5 3G 5 3 5 3 5 3 2 1G 2 1 2 1 3 5 6 5 1� 6 5 6 5 1 2 3G

Appendix 4

502 (1) Balungan :

6

5

6

5

1

2

5

3G

Dhodhogan: x x · x x · x x · x x · x x · x x · x x [etc.] (2) Balungan :

5

2

5

3

5

3

2

1G

(3) Balungan :

2

1

2

1

3

5

6

5

(4) Balungan :

1�

6

5

6

5

1

2

3G

Alok : ·

2� o

1� o

(5) Balungan :

3

2

5

3

5

3

5

2� o

3� é 1G

Sindhènan : · 3 5 · · \ 2 2 \ 2 1 Ra- ma ra- ma... Alok : · 2� 3� 2� 1� o o é (6) Balungan :

2

1

2

1

3

5

6

5

Sindhènan : · 6 1� 1� 6 \ 5 5 ... Su- ling wu- luh Alok : · · · (7) Balungan :

1�

6

5

\ 2� 2� \ 2� 1� lo- lo o 6

Sindhènan : · · 1� 2� 1� 3� cang- king- a- né

5

1

\ 6 5 o wèng

2

3G

1� 5 2 3 wong me- dha-

3 ti,

Alok : · ·

1� 2� 3� o- wèng,

(8) Balungan :

2

5

3

5

3

5

3

1G

Sindhènan : · 3 5 \ 6 5 3 2 1 2 \ \ 1 Ji- na- ra- gan Alok : · 2� · 3� 1� o- wèng,

Music transcription Act 2 (9) Balungan :

2

1

2

1

3

· Sindhènan : Alok : · · · (10) Balungan : 1� Sindhènan : ·

6 1� Du-

5

503

5

6

5

\ 6 1� 1� \ 6 5 5 ji- na- ra- gan,

2� 3� · · 2� 1� 6 5 lo- lo wèng, 6

2� 1� 3� wé bo- jo

5 1� wong

3

2

5 3 2 dhan- dhe-

3G 3

Alok :

1� 2� 3� o wèng,

(11) Balungan :

2

1G

Senggakan: 3 · · · 3 5 6 · 3 \ ngan, Ja- nur gu-

2 1 \ nung,

5

3

5

3

5

3

Alok :

2� · 3� 1� o wéng,

(12) Balungan :

2

5

Sindhènan:

\ 2 1 · · · ...

6 1� · ja- nur

(13) Balungan :

1�

3

1

6

Sindhènan : · · (14) Balungan :

5

3

2

5

1

6

1� 2� · Sa- ku- 5

3

3

1

1� 3� 1� 5 lon Ban- jar Pa- 5

3

6

5

1� 6 5 5 gu- nung, 2

3G

3 2 3 to- man, 2

1G

Sindhènan : 3 3 5 \ 6 5 2 \ 2 2 \ 2 man Ka- di- nga- rèn... Alok : · · ·

3� lo-

5� · lo-

3� 2� 3� 2� 1� lo- lo wéng,

Appendix 4

504 (15) Balungan :

2

1

2

1

3

5

6

5

Sindhènan : 1 1� 1� 1� \ 6 5 5 ... ka- di- nga- rèn, (16) [suwuk] . Balungan : 1�

6

5

6

3

1

2

3G

Sindhènan : · 6 1� 5 6 3 3 6 5 3 2 1 3 Ka- di nga- rèn wong ba- gus ga- sik te- ka- né,

Ayak-ayakan in Solonese style laras sléndro pathet sanga [after item 859] Dhodhogan : x x x x x Buka Kendhang : · · p p p Balungan : 1G

t N

t

N

t

N t

N

t

N

t

N

t

N

t N



·

·

1�P

·

2�

1�P

·

3�

·

2�P

·

6

· 5G

2�

·

t t N t t N t t N t t N t t N t t N

t t N t t N



1� 6

5 6P

5

3

5

6P

5

3

5

6P

3

5

6 5G



3 2

3 5P

3

2

3

5P

1�

6

5

6P

5

3

2 1G



2 3

2 1P

2

3

2 1P**

3

2

1

2P

5̣

6̣

1 6̣G



5 3 . .

5 6P . .

5 .

3 .

5 .

6P 2 3 2 1P .

6 .

5 .

3 5G& . .



3̣

3̣

3̣

2

3̣

5̣P

2̣

5̣P

* gamelan sirep (items 860-862) ** udhar & Suwuk (from gong):

3

2

1

2P

3

5

6 5G

2

3

2

1

6̣

5̣

3̣ 5G

Srepegan in Solonese style laras sléndro pathet sanga [after item 883] Balungan : 5G Buka kendhang : · · · p o p o p Dhodhogan : xx · xx · xx · xx · xx · [etc.]

Music transcription Act 2

505

P P P P P t N t N t N t N t N t N t N t N t N t N t N t N

6 5 6

5 2 3

2 1G*

2

1 2 1

3 2 3

2 5 6

1� 6G

1

6 1 6

2 1 2

1 3 5

6 5G



6 5 6

5 3 2

1 2G



3 2 3

2 3 5

6 5G

Suwuk [from gong 5] :

6 5 6

5 3 2

3 5G



[from gong 6] :

1� 6 1�

6 3 5

6 5G

* [alternate playing :

6 1� 5

2 5 3

2 1G]

Sampak in Solonese style laras sléndro pathet sanga [after item 890] Balungan : · · · 5G Buka kendhang : · · b t p p p p Dhodhogan : X X X xx P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 5 5 5 5 1 1 1 1G 1

1 1 1

2 2 2

2 6 6

6 6G

6

6 6 6

1 1 1

1 5 5

5 5G



5 5 5

5 2 2

2 2G



2 2 2

2 5 5

5 5G*



2 2 2

2 1 1

1 1G

Suwuk [from gong]: 5 5

5 5G

Sampak in Solonese style laras sléndro pathet sanga [after item 897, see version after item 890] Sampak in Solonese style laras sléndro pathet sanga [after item 899, see version after item 890]

506

Appendix 4

Srepegan in Solonese style laras sléndro pathet sanga [after item 901, see version after item 883] Sampak in Solonese style laras sléndro pathet sanga [after item 904, see version after item 890] Sampak in Solonese style laras sléndro pathet sanga [after item 906, see version after item 890] Sampak in Solonese style laras sléndro pathet sanga [after item 919, see version after item 890] Srepegan in Solonese style laras sléndro pathet sanga [after item 929, see version after item 883] Sampak in Solonese style laras sléndro pathet sanga [after item 978, see version after item 890] Srepegan in Solonese style laras sléndro pathet sanga [after item 984, see version after item 883] Sampak in Solonese style laras sléndro pathet sanga [after item 990, see version after item 890]

appendix 5

Music transcription Act 3 (Pathet manyura) Ladrang Singa-Singa in Solonese style laras pélog pathet barang [after item 992] Buka rebab : · 7̣ 6̣ 7̣

2 3 2 7̣ 2 7̣ 6̣ 5̣ 3̣ 5̣ 6̣7̣G



t

t

N

t

t

N



·

7̣

6̣

7̣

2

3

2

7̣

·

7̣

6̣

7̣P

2

3

2

7̣



·

7̣

6̣

7̣P

2

3

2

7̣**

6̣

7̣

6̣

5̣P

3̣

5̣

6̣ 7̣G



·

·

7

·

6

5

3

2

·

2

3 5P

6

5

3



·

2

3 5P

6

5

3

2

4

3

2 7P

3

5

3 2G



·

·

2

3

4

3

2

3*

·

3

3

·P

2

3

2



·

7̣

6̣

7̣P

2

3

2

7̣

6̣

7̣

6̣

5̣P

3̣

5̣

6̣ 7̣G

+ gamelan sirep [signal as follows] (from second gongan): · · 7 · 6 5 3 2 · 2 3 5P Dhodhogan:

6 ·

5 ·

3 2 · X



· ·

2 3 5P 6 5 X · X X X· X



· ·

· ·

2 ·

3 ·

4 ·



·

7̣

6̣

7̣P

2

3 ·

7̣

4 ·

3 2 7P · X · X

3 ·

5 3 2G X X X

3 2 3 · X X · [sirep]

·

3

3

·P

2

3

2

3

6̣

7̣

6̣

5̣P

3̣

5̣

6̣ 7̣G

2

2 ·

2

7̣

7̣

** udhar [gamelan continues in banyakan style]

Ladrang Singa-Singa Gérongan Nartosabdho [from the end of first gongan] (1) Balungan : 6̣

7̣

6̣

5

3

5

6

7G

Gérongan : · · · 7 7 An- dhé

Appendix 5

508 (2) Balungan : ·

·

Gérongan : · · (3) Balungan : ·

2

Gérongan : · · (4) Balungan : ·

2

7

3

Gérongan : 3 · (6) Balungan : ·

·

Gérongan : · · (7) Balungan : ·

3

6

7 7 7 2 3 ma- ngu- wuh pek- 3

5

6

5

3

2

6 7 6 5 7 6 5 3 2 si ma- nyu- ra, 5

3

2

5 5 6 7 5 · 5 6 7 5 6 5 3 2 Sa- wung klu-ruk am- ba- re- ngi, 3

Gérongan : · · 2 2 Wan- ci (5) Balungan : 4

·

2

5

6

2 3 5 né wus 7

3

5

3

2

5 6 7 · 5 6 3 2 ga- gal én- jang, 5

3

2G

3� 3� 3� 2� 7 2� 3� 6 7 6 5 7 6 5 3 2 A- yo ro- wang a- mur- wa- ni, 2 2 2 Ne- te- [3]

3

4

3

2

3

2 3 4 4 3 2 2 3 4 3 pi re- ru- kun li- må, ·

2

3

2

7

Gérongan : · 6 7 2� 3� · 3� 2� 7 2� 3� 6 7 3 2 · 2 3 2 3� Ma- rang Sang Hyang Ma- ha Su- ci, (8) Balungan : · 7̣ 6̣ Gérongan : 2 7̣ · 7̣ 7̣ Mrih yu- (9) Balungan : 6̣

7̣

6̣

7 ̣

2

3

2

7̣

6̣ 7 ̣ 2 7̣ 2 3 2 · 2 3 2 7̣ wå- nå kang si nan-dhang, 5̣

3 ̣

5 ̣

Gérongan : · 7̣ 3 2 3 6̣ 7̣ 5̣ · 7 ̣ 2 2 Ing du- nyå tu- me- kèng

6 ̣

7̣G

2 3 2 7̣ la- lis.

Music transcription Act 3

509

Uran-Uran Dhandhanggula Sida Asih laras pélog pathet barang [after item 1006] [sung by pesindhén] 2� 2� 2� 2� 2� 3� 3� 3� 3� 3�̣ Pa- min-ta-ku ni-mas si-då a-sih, 2� 2� 2�3�4� 2�3�2� 7 6 6 6 65 67676 A- ku run- tut tan-sah re-run-tu- ngan, 7 2� 3� 3�2�3�2� 7 6 5 67676 Ing sak-ri- na sa-we-ngi-né, 6 7 2� 2� 2� 2�3�4� 3�2�3�2� Da-tan gri- nggang sak- ram- but, 7 67 3 2 2 2 2 2 2 La-mun a- doh ca-ke-ting a- ti, 35 5 5 5 5 565 3232 Yèn ce-dhak tan-sah mu- lat, 5 3656 2 2 2432 7̣·6̣7̣6̣ Si då a- sih tu- hu, 6̣ 7̣ 2 3 3 3 3 3 Pin-dho mi-mi ha-min tu-nå 2 2 23 3232 7̣ 6̣ 6̣ 6̣ 6̣ 7̣ 23 3 A- yo ba- reng ni-mas a- ne-te-pi wa- jib, 2 2 2 26 6567 565 3·232 Si- då a- sih be- bra- yan.

Gendhing Dolanan Sarung Jagung laras pélog pathet barang [arranged by Nartosabdho] [after item 1009] Buka Bonang : 3 3 2 7 6̣ 5̣ 3̣ 6̣ 5̣

2 · 2̣

2 · 2̣

Balungan : Ompak t t N t P t N t P t

·

· 2G

N

t

P

t N



6

·

6

2

6

·

6

2

6

5

3

5

6

7

5 6G



2

·

2

6

2

·

2

6

3

5

6

5

3

2

1 2G



·

3

·

2

·

3

·

2

·

3

·

7

·

3

· 2G

Appendix 5

510

·

3

·

2

·

7

·

6

·

3

·

5

·

3

· 2G



·

3

·

2

·

6

·

2

·

3

·

4

·

7

· 6G



·

5

·

3

·

1

·

2

·

5

·

3

·

6

· 5G



·

6

·

5

·

3

·

2

·

3

·

7

·

5

· 3G



·

6

·

2

·

7

·

6

·

3

·

5

·

3

· 2G

(1) Balungan : ·

Gendhing Dolanan Sarung Jagung Vocal Text and Melody 3

·

2

·

3

Pesindhèn : · · · · · · (2) Balungan : ·

3

Pesindhèn : · · (3) Balungan : ·

3

·

7

2� 3� 2� 7 2� · A- bo- té ke- ·

2

Pesindhèn : · 3� 2� 1� 2� · Tak ré-wa- ngi (4) Balungan : ·

3

·

5

Pesindhèn : · 5 3 Mla-ku

6 7 a-

(5) Balungan : ·

3

·

Pesindhèn : ·

3 Wa-

(6) Balungan : ·

3

5

·

·

·

·

3

·

4

·

7

3

6

·

Pesindhèn : · 6 7 6 5 2 3 · Na- dyan mung-gah gu-nung

2G

· 2 7 rå- ·

6 6 gå, 2G

1 3 2 su- lå, ·

2

6 6 · 7 2� se- san- dhi- ngan, 7

3� 4� · 2� 3� 2� wé seng- sem ra- 3

·

2� 6 · 7 2� ba- cut tres- nå,

· 5 · 3 2 doh tan nger- 2

2

3� 2� 7 2� Sa- rung ja- gung,

3� 2� 3� 2� kor- ban ji- wå

5 6 2 6 · to- né

Pesindhèn : · 2� 2� · Kang ga- (7) Balungan : ·

·

·

1

·

6G

7 sa-

6 ku,

·

2

2 2 7 · 3 2 o- ra we- gah,

Music transcription Act 3 (8) Balungan : ·

5

·

3

·

Pesindhèn : · · 6̣ 7̣ 2 3 Wa- to- né tan- (9) Balungan : ·

6

·

Pesindhèn : 2� 1� 2� · Mung tan- sah (10) Balungan : · Pesindhèn : · (12) Balungan : ·

3

6

7

5G

7 6 5 man- dhing,

3

·

2 7̣ té ke-

·

5

5 7 ba-

2

·

Pesindhèn : · 5 3 Sa- rung

·

2

2� 3� 5 · 2 1 2 · é- ling sa- rung

·

3

7 su-

·

6 cut

·

Pesindhèn : · · 6 6 7 2� · Yèn tan we- ruh (13) Balungan : ·

6

5 6 sah

5

·

5 3 · A- bo-

511

3 2 ja- gung,

·

3G

6 5 3 tres- nå,

7

·

6

2� 2� 3� 4� 2� 3� 2� 7 6 se- di-na ka- ya se- ta- hun,

5

·

6 7 6 5 ja- gung

3

·

2G

3 3 2 · a- bot ra-

1 2 sa- ku.

Srepegan Banyumasan laras pélog pathet barang [after item 1013] Balungan : · · · 2G Buka Kendhang : t p t p dl · · Dhodhogan : x x · x x · x x · x · · · · P P P P N N N N N N N N N 6

P N N 7 6

P N N 7 6

P N N N 3 2 7G



6

5

2

3

5

6

7 6G



3

5

6

5

7

6

5 3G



5

3

5

3

5

6

7 6G**



3

2

5

3

2

7

6 7G*

7

6

7

6

Appendix 5

512

4 3 2 7 3 5 6 7& *Suwuk [first and third version] : **Suwuk [second version]

3 6

5 7

7 6

6 7

3 5

2 6

3 2G 7 6G

:

7

6

5

3

5 6G

& [sometimes played 4 3 2 7]

Srepegan Banyumasan laras pélog pathet barang cakapan Ki Nartosabdho and alok Banyumas style (1) Balungan : 6

7

6

7

Chorus : · · · · (2) Balungan : 6 Chorus

5

: 2 6̣ 3 Wan- ci- né

(3) Balungan : 3

5

2

3

6

5

2

7G

7 7 7 7 6 3 2 7̣ Ma- ngu-wuh pek- si man- yu- rå, 5

· 3 3 · an- dung- 6

3

7

6

7

6G

7 2� 3� 2� 7 6 kap ga- gal ra- hi- nå, 6

5

3G

Chorus : 7 6 5 Sa- nis- kå-

5 · · 7̣ 7̣ 2 7̣ 2 3 rå wo- sing pa- ge- la- ran,

(4) Balungan : 5

5

3

Chorus : 5 6 3 Kang be- cik (5) Balungan : 7

6

3

5 6 7 ka- ti- tik 7

6

5

6

7 3� 2� kang å- lå 3

2

7

6G

7 5 6 ke- tå- rå, 5

3

Chorus : · · · · · 7 2� 3� A- wit

6 5 3 i- ku

(6) Balungan : 2

2

Chorus : ·

7 7̣ 2 a- pan

6 3 2 nyå-

7G

4

7̣ · tå

3

7

3 4 3 · 2 7̣ go- tèk ing- kang

Music transcription Act 3 (7) Balungan : 3

5

6

7G

Chorus : 3 3 5 · ri- dhu pa- (8) Balungan : 3

2

513

3

5

7

6 7 · 6 7 ma- yang hom a-

2

3

Alok I : · · · · · ·

7 7 2� a- é- o-

3� o

Alok II : · · · · · · 7 2� Wa- lo-

3� lo

(9) Balungan : 5

5

6

2G

6

2� 3� 6 wig- nam

5

Chorus : · 3 2 as- tu-

3

6

7̣ 3 2 na- man.

7

6G

3

5

6

Sindhènan : · · · · · 3 5 Go- nas Alok I : 3 · 3 3 2 é o- é Alok II : · · (10) Balungan : 7

6

3 2 7̣ o-

6̣ · · a

5

(11) Balungan : 5 6 7 Sindhènan : 2� 3� 2� 3� 2� 7 Sa- ji sis- 2

2� 3� 5� 3� 5� o- a- é- a- é

2� 3� 2� 7 6 o- wèng 3G

5

3

3 4

3

6G

7

6 wå

5

3

2

Sindhènan : 2 3 2 3 2 3 2 4 wi-ca- wi- ra- na né, Alok II : · 2 4 · 6 3 o- o- o- o

(12) Balungan : 3

6 5 ga- nès

5

Sindhènan : 6 7 2� 3� 2� 3� a- ra-né bå- Alok : · 2� · wa-

5

3

6

7

6

7

6

7G

6

6 3 6 7 6 7 2 2 3 så na- wå- lå, 2� 2� 2� lo- lo

2 7 2� 2� 7 o- wèng,

Appendix 5

514 (13) Balungan : 4

3

2

Sindhènan : ·

4 Man

3 2 go-

Alok I : · ·

7

5

7

6

3

2

3

3� é

Sindhènan : Alok I : ·

5

6

5

3 a

5 é

3 a

5 é

·

·

·

3

5

3

2G

3 3 na- dyan

3 6 le-

5

7

·

Alok II : · · · · · (17) Balungan : 5 3 5 3 5 Sindhènan : · · · · (18) Balungan : 7 6 7 6 Sindhènan : · · · ·

7̣ né

6 2� 7 2� 6 2� 7] a é o é a é o]

6

6G 2 6̣ rå,

2� 3� 2� 7 6 o- wèng, 6

·

5

·

2 4 · o o 7

3 5 6 7 Ya gen- dhut

6 7

2

3G

3 2 3 so la- hé,

6

3

5

7

6̣ 6̣ 7̣ 2 7̣ u- kå

5 5 6 5 6 5 3 3 2 3 3 2 3 Go- nas ga- nès ge- nès sak- 2 o

7

2� 4� 3� o é

Sindhènan : 2 3 2 3 · 2 2 3 5 6 5 6 3 mang, nya- le- mang tan- på Alok II : · · · · · (16) Balungan : 3

2

4 3 2 3 2 ma-

[6 2� 7 2� 6 2� 7 · · [a é o é a é o

Sindhènan : · 2� 3� 5� 3� 5� 2� 7 6 Na- dyan gun- tå (15) Balungan : 5

3

7̣ · nès

Alok II : 3� 2� 4� 3� · · · é o é é (14) Balungan : 3

4

5

· 5 3 o wèng, 6G 5

6

3

6 7 2� 3� 2� 7 6 3 [U- jung ja- ri ba- lung- nya nèng

Alok II : · · · · ·

2� 3� 3� dhu- wa lo...

Music transcription Act 3 (19) [slows down] Balungan : 2 7

6

Sindhènan : 5 6 ka-

2� lå-

3� på,]

Alok II : ·

2 o-

3 o-

Dhodhogan: x x (20) [suwuk] Balungan : 6 7 Sindhènan : · Dhodhogan: x

7G 2� 7 2 7̣ wèng.

x x

x

6

7

2 2 2 2 2 2 5 [ka- wang- ku-a sa- yek- ti x

x

x

515

x

5

6

6 3 2 · dya u- x

x

7

6G

3 5 3 27̣6̣7̣6̣ sa- ha.]

X xxxxxxxxx

Note: the second version of this srepegan is faster and without a chorus section; the third version is similar to the one above, but with a somewhat different sindhènan.

Srepegan Banyumasan laras pélog pathet barang [after item 1020, see version after item 1013] Srepegan Banyumasan laras pélog pathet barang [after item 1036, see version after item 1013] Sampak in Solonese style laras sléndro pathet manyura [after item 1043] Balungan : 2G Buka kendhang : · · · bL · Dhodhogan : X X X Xx etc. P P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 2 2 2 2 3 3 3 3 1 1 1 1G** 1 1 1 1 2 2 2 2 6 6 6 6G* 6 6 6 6 3 3 3 3 2 2 2 2G* * [Suwuk]: 2 2 2 2G

516

Appendix 5

** [from gong 1, the suwuk may sound like: 1 1 2 2G Dhodhogan for suwuk: Balungan : · · · · G 2 2 2 Dhodhogan : X X X XXX etc.

2G

Sampak in Solonese style laras sléndro pathet manyura [after item 1044, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1057, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1080, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1092, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1095, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1101, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1103, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1105, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1113, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1117, see version after item 1043]

Music transcription Act 3

Sampak in Solonese style laras sléndro pathet manyura [after item 1121, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1122, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1127, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1128, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1135, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1136, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1143, see version after item 1043] Sampak in Solonese style laras sléndro pathet manyura [after item 1152, see version after item 1043] Orèk-orèk (Tayungan) laras sléndro pathet manyura [after item 1156] Balungan : · · 2G Buka kendhang : · · b bl p · Dhodhogan : x x x · · x etc.

517

Appendix 5

518

P P P P P P P N N N N N N N N N N N N N N N N Balungan

:

· 6 · 6 · 6 · 6

Saron sanga

:

1� 1� 6 1� 1� 6 1�

Bonang barung

: ·56 ·56 ·56 ·

Bonang panerus* : 23 ·23 ·23

·23

· 6 · 6 · 6 · 2G 1� 6 1� 1� 2�

56 ·56 ·56 · 1 2 ·23 ·23 ·23 1 2

* bonang panerus sounds one octave higher than bonang barung. Transition [slows down at signal]: Balungan Dhodhogan

: 6 6 6 6 6 6 6 2G : · · · · x x x x · x

Continues with Ladrang Kakitunggu Jagung laras sléndro pathet manyura [played as lancaran form] t · t N t P t N t P t N t P t N 6 3 6 5 6 3 6 2G 6 3 6 5 6 3 6 2G 2 5 3 2 1 2 6 1 2 3 2 1 2 6G

1� 5 6 · 5 · 3 ·

2 · 5 3 2 1 2 6G



1� 5 6 · 5 · 3 ·

2 · 5 3 2 1 2 6G



1� 5 6 · 5 · 3 ·

2 · 5 3 2 1 2 6G

3 1 2 3 1 2 3 1 2 3 1 2G [speeds up]: 6 3 6 5 6 3 6 2G 6 3 6 5 · 2 2 2G

Continues with Orèk-orèk Balungan

:

6 6 6 6 6 6 6 2G

Saron sanga

: 1� 1� 6 1� 1� 6 1� 1� 6 1� 1� 2�

Transition [slows down at signal]: Balungan Dhodhogan

: :

6 6 6 6 6 6 6 2G · · · · X X X X · x etc.

Music transcription Act 3

519

Continues with Ladrang Kakitunggu Jagung laras sléndro pathet manyura [played as lancaran form]

6 3 6 5

6 3 6 2G



6 3 6 5

6 3 6 2G



2 5 3 2 1 2 6

1 2 3 2 1 2 6G

1� 5 6 · 5 · 3 · 2 · 5 3 2 1 2 6G 1� 5 6 · 5 · 3 · 2 · 5 3 2 1 2 6G* 1� 5 6 · 5 · 3 · 2 · 5 3 2 1 2 6G

3 1 2 3 1 2

3 1 2 3 1 2G

[speeds up]

:

6 3 6 5

6 3 6 2G



6 3 6 5

· 2 2 2G

* This additional line in the lancaran version is added and does not occur in the ladrang.

Continues with Orèk-orèk



Balungan

:

Saron sanga Suwuk:

:

Balungan Dhodhogan

: :

6 6 6 6 6 6 6 2G 1� 1� 6 1� 1� 6 1� 1� 6 1� 1� 2� 6 6 6 6 6 6 6 2G · X · X · X · x · x · ·

Ayak-ayakan in Solonese style laras sléndro pathet manyura [after item 1164] t N · 3

t N t · 2G ·

N 3

t ·

N 2G

t ·

N 5

t ·

N t 3G ·

N 2

t ·

N 1G

t t N t t N t t N t t N t t N t t N t t N t t N 2 3 2 1 2 3 2 1G 3 5 3 2G* 3 5 3 2G 5 3 5 6G 5 3

5 6G 5�

3�

5�

6�G

3

3

2

3G 6

5

3 2G

3� 5�

3� 2�G 3�

5�

3�

2�G

5

3

2

3G 2

1

2 1G**

2 3

2 1G 2

3

2 1G 3

5

3

2G to sampak

* [sirep] (items 1166-1172) ** [udhar]

Appendix 5

520

Continues with Sampak in Solonese style laras sléndro pathet manyura P P P P P P P P P P P P N N N N N N N N N N N N N N N N N N N N N N N N 2 2 2 2 3 3 3 3 1 1 1 1G 1 1 1 1 2 2 2 2 6 6 6 6G 3 3 3 3 2 2 2 2G [malik pélog]: 6 6 6 6 6 6 675 3 2G

Continues with closing gendhing (untitled) laras pélog pathet barang [in lancaran form] · N P N P N P N 53 2 · 32 3 2 7 76 7 2 327 6 5G 76 5 · 57 6 5 3 35 6 · 675 3 2G 53 2 ·32 3 2 7 76 7 2 327 6 5G 76 5 ·57 6 5 3 35 6 · 675 3 2G 2 2 2 2 3 2 3 2 7 6 5G 2 3 5 6 7 5 6 7G 2 3 2 7 6 5 3 2 3 6 5G 757 5 6 675 3 2 7 3 2 7 6G

2 2 2 2 3 2 7 6 5 3G



5 3 5 3 5 6 7 2 3 5 6 7G

55 5 · 57 6 5 3 35 6 · 675 · 32G

Closing gendhing (untitled) (text and vocals)

(1)

2

2

2

2

3

2

· · 3� 2� · 6 7 3� 2� Sam- pun ti- ti wan- ci

3

2

7

6

5G

3� 2� 3� 2� 7 6 5 3 5 5 a- mung-ka-si pa- wi- ya- tan,

Music transcription Act 3 (2)

2

3

· 2 2 2 · Tan a- mung

(3)

2

3

(4)

7 5 7

5

6

7

(5)

2

2

2

6 7 5

2

7 2 3 · nyu- wun

(6)

5

3

5

6

3� 2� 7 6 ci- na- kel- a

· · · · · ·

6

7

5

6

7G

2 3 5 6 · 6 7 6 5 · 3 5 6 7 a- se- san -ti mu- gi an- tuk ka- nu- gra- han,

2

2� 2� 2� · U- gi

5

521

3

2

3 2 A- mung

3

2

5

3

2

5 3 2 ing su- ka 7

3

6 5G

3 6 5 ba- su- ki, 7

6G

7 3 2 · pur- na- ning

7 6 a- tur

7

2

3

6

5

3G

2 2 2 2 · 7 7 5 6 7 5 2 3 pa- ngak- sa- ma mi- wah su- geng pe- pi- sa- han,

3

5

6

7

2

3

5

6 7G

· · 3 5 6 7 2� 7 2� 3� 2� 7 6 3� 2� 3� 6 2� 7 Te- tep lu- hur war- ga Mu- dha Bu- dha- ya tu- win bang- sa

(7)

· 5 5

5

· 5 7

6

5

3

· 5 5 5 · 5 7 6 5 3 In-do-né- sia mer- dé- ka

3 5

6

·

6 7 5

3 2G

3 5 6 · 6 7 5 6 5 3 2 les- ta- ri sak- da- ngu- nya.

Appendix 6

Illustrations

1. Prabu Suyudhana, King of Ngastina (pen and ink drawing by R. Soepardjo)

526

Appendix 6

2. Dhang Hyang Durna, Royal Priest of Ngastina (pen and ink drawing by R. Soepardjo)

Illustrations

3. Prabu Ajijaya Diningrum, King of Jongparang (pen and ink drawing by R. Soepardjo)

527

528

Appendix 6

4. Radèn Jatikusuma, Crown Prince of Jongparang (pen and ink drawing by Narsun)

Illustrations

5. Patih Tenung Turanggamaya (pen and ink drawing by R. Soepardjo)

529

530

Appendix 6

6. Patih Tenung Turanggadhèsthi (pen and ink drawing by R. Soepardjo)

Bibliography

7. Prabu Baladéwa, King of Madura (pen and ink drawing by R. Soepardjo)

471

532

Appendix 6

8. Sang Hyang Kanéka Putra (Narada) (pen and ink drawing by R. Soepardjo)

Illustrations

9. Prabu Kresna, King of Dwarawati (pen and ink drawing by R. Soepardjo)

533

534

Appendix 6

10. Radèn Arjuna (Janaka) (pen and ink drawing by R. Soepardjo)

Illustrations

11. Radèn Wrekudara (Bima) (pen and ink drawing by R. Soepardjo)

535

536

Appendix 6

12. Radèn Srenggini (pen and ink drawing by R. Soepardjo)

Illustrations

13. Radèn Gatotkaca (pen and ink drawing by Soepardjo)

537

538

Appendix 6

14. Ki Lurah Togog (pen and ink drawing by R. Soepardjo)

Illustrations

15. Sarawita (pen and ink drawing by R. Soepardjo)

539

540

Appendix 6

16. Ki Lurah Semar (pen and ink drawing by R. Soepardjo)

Illustrations

17. Nala Garèng (pen and ink drawing by R. Soepardjo)

541

542

Appendix 6

18. Pétruk (pen and ink drawing by R. Soepardjo)

Illustrations

19. Bawor (pen and ink drawing by R. Soepardjo)

543

544

Appendix 6

20. Dèwi Banowati, Queen of Ngastina (pen and ink drawing by R. Soepardjo)

Illustrations

21. Dèwi Wara Srikandhi (pen and ink drawing by R. Soepardjo)

545

546

Appendix 6

22. Dèwi Wara Sumbadra (pen and ink drawing by R. Soepardjo)

Illustrations

23. Gonjing Miring (pen and ink drawing by R. Soepardjo)

547

548

Appendix 6

24. Jaé Wana (pen and ink drawing by R. Soepardjo)

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Index

ada-ada [mood song] 48, 66-7, 92-3, 1445, 151, 208, 273, 275, 298, 300, 332 ada-ada alas-alasan 271 ada-ada gara-gara 238 ada-ada girisa 92, 159 ada-ada greget saut 267 ada-ada greget saut Mataraman 169 ada-ada manyura 319 ada-ada Mataraman [Mataram style adaada] 144, 149, 174, 179, 196, 198, 222, 231 ada-ada Yogyan [Yogya style ada-ada] 182 adegan [scene] 38-9, 66, 72, 116, 118 adegan banyolan [comic, clown scene] 38, see also banyolan adegan gara-gara [cosmic turmoil scene] 66, see also gara-gara adegan manyura [scene in pathet manyura] 38, see also pathet manyura adegan sabrangan [foreign kingdom scene] 38, 116 adegan wana [forest scene] 118 adipati [royal government administrator] 105 Adisarwono 105 ageng [great or large, extended] 48, 57, see also gong ageng, pathetan ageng, and sekar ageng agung [great or large] 57, see also gong ageng Aji Saka (Ajisaka) 68 Ajijaya (Ajijaya Diningrum), Prabu 1156, 120-2, 125, 154, 158, 187, 189-200, 322-4, 332-4 alam-alaman [make-believe world] 69, 243

alok [vocal sounds or calls] 103, 246, 3523, 366-7, 369, 371, 376, 398-400, 405-7, 411-4, 422, 426-33, 447-55, 483-7, 48996, 501-2, 504-5, 514-7 Amarta see Ngamarta ampyak [throng, mob] see perang ampyak andhegan [pause] 444, see also mandheg Andini 239 Anggendara, Radèn 133, see also Sangkuni Anggendari Putra, Prabu 132, see also Suyudana and Duryadana Anoman (Hanoman) 337 Anon Suroto (Ki Anom Suroto) 84 Antaséna 121, 334, Arjuna 18, 22, 38, 42-3, 64-5, 72, 94, 115, 117-21, 123, 132, 142-3, 210, 213, 225, 240, 259-60, 270, 284-5, 296-8, 301-2, 304, 309, 318, 320, 323, 332, see also Janaka Arjuna Wiwaha 61 Arjunasasrabahu 28 Arps, Ben 16 ASKI (Akademi Seni Karawitan Indo­ nesia) 3, 99-100, see also STSI Asmarandana, Palaran 52, 225 Astina see Ngastina Aswatama 164, 177-9 ayak-ayakan [kind of musical form] 5, 45, 47, 51, 56-9, 61, 65, 102, 127, 151, 166-7 - ayak-ayakan, in Solonese style 151, 167, 232, 281, 291, 338, 390-3, 420, 4812, 506, 521 - ayak-ayakan Banyumasan 127, 240, 357-8, 421-2

560

Index

- ayak-ayakan patalon, in Solonese style 47, 343-4 - ayak-ayakan patalon Banyumasan 343, 345-6 babad [chronology, geneology] 105 Badranaya, Ki 242, 261, 264, 276, 297, see also Semar Bagong 26, 69, 108 Bajuljamang 223, see also Gatotkaca Baladéwa (Prabu Baladéwa) 41-2, 51, 115-6, 133, 139, 145-6, 149, 155-6, 1612, 174-7 Balarama, Prabu 133, see also Baladéwa Balé Marcakundha Manik 239 Bali 42, 101, 128, balungan [skeletal, main melodic part, outline] 24, 45-7, 57, 94, 102, 134-5, 145, 151-3, 160, 166-8, 171, 174, 182, 194, 222, 232, 238, 240, 261-2, 272, 279, 281-3, 290-1, 293, 315, 320, 346-55, 358, 379, 389-402, 404-42, 444, 446, 451, 456, 459, 461-6, 476-86, 493, 503-7, 50921, see also genjlèngan balungan and sabetan balungan kréasi balunganing lampahan [plot outline] 24, 29 Banjarnegara 2, 7, 63 Banowati (Kusuma Dèwi/Ratu Banowati) 48-9, 94, 116-7, 120, 122-5, 158, 163, 170, 180-1, 183, 191-7, 199200, 202-7, 209-14, 229, 309, 314-25, 328-9 banyakan [‘swan-style’ treatment] 315, 393, 509 banyolan [comic, comedy] 117, see also adegan banyolan banyu tumètès [‘dripping water’ rhythm] 53, see also dhogdhogan Banyumas, Regency of 7, 26 region of - 108-9, 127, 130, 253, 265 town of - 8, 26-7 Banyumas Lor Gunung 27 Banyumas Pesisiran 27 Banyumasan [Banyumas style] 102, 108 barongan [tiger-like monster character in trance-dance] 265-6 baru [new, newly] 159

Basor 201 Basukarna (Prabu Basukarna) 115-6, 133, 140-1, 149, 160-1, 168-74 bathara [title for divine characters in wayang] see Guru and Kala Baturaden 9 Bauman, Richard 31 bawaswara [unmetered solo vocal piece] 252, 255, 460, 467, see also buka celuk Bawor (Carub Bawor) 18, 26-7, 50, 70-1, 74, 94, 107-8, 114, 118, 123, 241, 243, 251-2, 254-7, 260, 262-5, 269, 273-4, 276-7, 280, 282-7, 289-90, 303 Beane, Wendall Charles 69 becak [pedicab] 19 Becker, A.L. 5, 38, 44, 56, 62-3, 66, 69, 72, 75 Becker, Judith 5, 14, 56-7, 58, 100, 132, 241 berat [heavy, serious] 30, 79 Bima 21-2, 55, 64-5, 72, 74, 113-5, 117-21, 123-5, 140, 142, 147, 223-4, 336, see also Wrekudara Biyung (Biyung Emban) 48-9, 120, 1245, 314-8 bonang (bonang barung) [gamelan instrument] 6, 27, 36, 45, 102-3, 247, 337, 410, 520, see also buka bonang and gendhing bonang bonang barung see bonang bonang panerus [gamelan instrument] 6, 410, 520 Bondhèt (Bondhèt Banyumasan), gen­ dhing 127, 136, 378-9, 389 Bono, S. (Subono) 80, 250, 254, 346 Brahma 81, 87 brahman [priest, holy man] 133 branch stories see lakon carangan Brandon, James 16, 41, 43, 45, 55, 63, 66, 68, 239-40 Bratajaya (Dèwi Bratajaya) 260, see also Sumbadra Brataséna 336, see also Bima or Wrekudara Bratayuda 20, 23, 30, 82-3, 93, 115, 122, 146 Bromo (Mt. Bromo) 81, 87 Brotodiredjo 105

Index brubuh [destroyed, woped out] see perang brubuh Bugagati see Semar buka [introduction, opening] 45, 49, 52, 184, 259, 358, 475 - buka bonang 392, 486, 511 - buka celuk 45, 48-50, 243-4, 252, 436, 439, 441-4, 446, 456, 458, 461 - buka kendhang 357, 389-1, 393-5, 397, 404-5, 408-10, 417-21, 476-7, 480-1, 503, 506-7, 513, 517, 519 - buka rebab 343, 403, 467, 509 - buka saron 402, 493 bupati [regent] 105 cakapan [text for vocal part] 417, 436, 439, 456, 514 calung [bamboo keyed instrument/ensemble] 5-6, 80, 100, 285 Carub see Bawor catur [four] 67 celuk [vocal] see buka celuk cempala [beater used by puppeteer] 48, 51, 81, 87, 137, 167, 175, see also keprak céngkok [version] 194, 206, 211, 236, 275, 293, 298, 300, 313-5, 332 Cerma (Ki Cerma) 26, see also Menganti ciblon [dance style drum/drumming] 136, 379 Cilacap 2, 7, 25, 27 Candradimuka 239 Ciptarasa, Dèwi 105, 109 Citraksi 183-4 Clara van Groenendael, Victoria M. 85, 129, 132 Clifford, James 106-7 Cohen, Abner 106 coincidence 21, 62-4, 72-3 cosmic turmoil see gara-gara Cucur Bawuk, Gendhing 58-61, 343 culture concept 98, 106-8 dalang see dhalang Danurédja, Patih 26 Darmosoewito (Ki Dhalang Darmosoewito) 27 Darmosuwondo 105 dasa [ten] 67, 130

561

Dègèl 26 Demak 27 Departemen Pendidikan dan Kebudayaan (Departemen) 8 Déwa Ruci 40, 60 dhalang [puppeteer, puppetmaster] 5, 8, 10-2, 15-20, 23-32, 35-46, 48-53, 56, 5860, 62-3, 66, 68-9, 71-4, 78-96, 101, 109, 113, 118, 127-30, 134-483 - dhalang indhang 85-6 - dhalang jati 85 - dhalang keturunan 85, 91 - dhalang wahyu 85 dhalang jemblung [traditional storytelling without puppetry or gamelan] 94, 119, 286 dhandhanggula [kind of poetic meter] 48 - uran-uran 236, see also Dhandhanggula Sida Asih Dhandhanggula Sida Asih 48, 317, 511 dhanyang [title for holy man, priest in wayang kulit] 133, see also Durna dhawah [fall or strike] see ndhawah dhedhog [rhythmic knock] 51 dherog [rhythmic knock] 52 dherogdhog [rhythmic knock] 52 dherogdhug [rhythmic knock] 52 dhodhogan [dhalang’s rhythmic knocking] 49, 51, 377, 379, 389-97, 402-4, 408-10, 415-20, 433, 435, 450, 460, 47582, 491, 503-4, 506-7, 509, 513, 517-21 dhog 51 dialect, Banyumas 2, 7, 14, 26, 71, 94, 103-5, 107-8, 251 dialogue 30-1, 35, 38-41, 49, 71, 87, 137, 150, 220, 247 Dieng Plateau 104 Dieng range 2 dolanan [children’s game or playing] 256, see also gendhing dolanan Drupada (Ratu Drupada) 260 Duda Nanang-nunung see Semar dukun [traditional priest or healer] 265 Durga (Bathari Durga) 147 durma [kind of poetic meter] 47 Durna (Pandhita Durna) 20-3, 64, 113-6, 119-21, 122-5, 133, 137-9, 141, 143-9, 156-8, 162, 164, 177-8, 181, 196-201,

562

Index

224, 270-1, 295-6, 304-8, 331, 333, 338 Duryadana 22, 114, see also Suyudana Dutch (Dutch colonialism) 1-2, 3, 12, 32, 104-5 Dwarawati 124, 224, 298-301, 339 dwi [two] 66 East Java 2, 81, 98, 105, 265 èbèg [trance dance] 14, 56, 94, 118, 265, 289, see also trance dance èbègan [èbèg style] 289, see also èbèg éka 130, see also eko éka adi dasa purwa 130 eko [one] 66 Éling-éling, lancaran Banyumasan [lancaran in Banyumas style] 94, 119, 265, 287, 289, 493 Éling-éling Kasmaran, minggah ladrang 259, 475-6 embèl-embèl [musical postscript] 290, Erlkönig, Der 50 ethnicity 1, 103, 105-6, 108, see also identity ethnomusicology 1, 4, 108 Feinstein, Alan 5, 16, 20, 29, 113 Florida, Nancy 1 Foley, Kathy 68, 70, 130 Forrest, Wayne 4 gagal [failed, unresolved] see perang gagal gagrag [style, in the style of] 15, 27 Gajahaya 130 gambang [xylophone, gamelan instrument] 48 Gambuh, palaran 171-2, 394 gamelan 3-7, 9, 11-6, 19, 27, 36, 39, 42, 449, 51-3, 55-8, 62, 65, 68-9, 71-3, 80, 889, 91-3, 95-104, 108, 119, 121, 133, 151, 153, 166, 171, 173, 197-8, 201, 238, 241, 252, 254-5, 265, 286, 378, 391, 396, 403, 417, 419, 475, 479, 482, 506, 509 gangsaran [kind of musical form] 37, 337 gara-gara [cosmic turmoil] 12, 37-9, 43, 45, 47, 50, 61-2, 64-72, 74-5, 118, 123, 235, 239, 243, 421, see also adegan gara-gara and sampak gara-gara

Garèng (Nala Garèng) 18, 26, 50, 68-71, 74, 83, 118, 120, 123, 240-1, 243-9, 2524, 257, 259-60, 262-4, 266-7, 269-70, 273-4, 276-8, 280-90, 303, 326, 475 garuda [mythological bird] 42 Gatotkaca, Radèn 52, 64, 93, 117, 119, 123, 223-31, 236, 301-3 gatra [four-beat measure] 378, 391-3, 417, 443 Geertz, Clifford 1, 63 gendèr [gamelan instrument] 45, 48, 92, 160, 237-8, 271, 279, 317, see also umpak gendèr gendhing [composition, form] 3, 5, 51-2, 56, 58, 61, 127, 136, 241, 244-5, 248, 259, 288-9, 378-9, 486, 493, 522 - gendhing Banyumasan 3 - gendhing bonang 36 - gendhing dolanan 241, 252, 255, 318, 436, 439, 441, 461, 467, 511-2 - gendhing Jawa 3 - gendhing kethuk kalih kerep 46, 186, 259, 343, 402, 475 - gendhing lampah (gendhing lampahan) 5, 46, 56, 58, 127, 145 - gendhing Mataraman 3 genjlèngan balungan [pounding balungan] 238, see also balungan kréasi Gerdurèn 253-4 gérong [male chorus] 6, 194 gérongan [male chorus part] 314, 318, 322, 363-5, 422, 509-10 Gléyong, ladrang 50-1, 165-6, 392 Glopa Glapé, gendhing dolanan 241, 439 gobyog [animated, village-style music] 446, 451 gobyogan [animated, village-style section of music] 256 Gog, see Togog golèk (wayang golèk) [three-dimensional puppet or puppet theater] 16, 36, 286 Golkar (Golongan Karyawan) 84 Gombong 26 gong 37, 45-8, 52, 56, 58, 62, 93-4, 145, 171, 197-8, 249, 286-7, 289, 383, 391, 393-6, 409-11, 417, 419-20, 436, 439, 477, 479-80, 482, 506-7, 518 - gong ageng (gong agung) 57

Index - gong siyem (gong suwukan) 57 gong phrase [musical phrases determined by gong strokes] 47, 318, 337, see also gongan gongan [gong phrase] 337, 391, 403, 476, 509, see also gong phrase Gonjing Miring 26 guntur [thunderous] see sampak guntur gunung [mountain] 57, see also Banyumas lor gunung Gunung Galunggung, bawasawara 50, 251-2 gunungan [shadow puppet figure of mountain, tree of life] 42, 240, see also kayon Gunung Semeru 9 Gunung Slamet 9 Gunungsari Kalibagoran, gendhing Banyumasan 50, 246, 248, 446 guru [teacher] 87 Guru (Bathara Guru) 69-70 hanacaraka [Javanese alphabet] 128, 130 Hanantaboga (Hyang Hanantaboga) 67 Hanoman see Anoman hasta [eight] 67, 128 Hefner, Robert W. 68, 81, 87 Hindu 28, 81, 87 Hindu-Buddhism 89 Hindu-Javanese 4, 17-8, 28, 42, 285 Hinduism 63 Hodipati (Hyang Hodipati) 239, see also Odipati Holt, Claire 69 Hood, Mantle 46 Hughes, David 5, 56 identity, local/regional 2, 7, 70, 98, 105-6, 108, 251, see also ethnicity indhang see dhalang indhang Indratmaja, 223, see also Gatotkaca inggah [rise, kind of musical form] 58, 61, 136, 343, 379, see also minggah irama [tempo, tempo level] 5, see also Semar - irama dados (irama dadi) 288, 377, 379, 489, 495 - irama lancar 486, 501, 502

563

- irama rangkep 351, 446, 476 - irama tanggung 377, 379, 488, 491 - irama wilet 345, 389, 476 Ismaya 70, 242 Jaéwana 26 Jakapitana, Prabu 132, 203, see also Suyudana and Duryadana Jaladara, Prabu 133, see also Baladèwa jalak-jalak pita [kind of musical form] 27, see also mengantian and srepegan Jamurdipa 67 Janaka 38, 43, 94, 115, 123-5, 132, 146, 148, 210-2, 214-5, 222, 224, 228-30, 243, 257. 264, 266, 268-70, 272-3, 275-7, 292, 297-9, 309, 314, 316, 319, 321-5, 328-30, 338, see also Arjuna Jangkrik Genggong, gendhing dolanan 241, 436 janturan [dhalang’s descriptive narration] 134 jati see dhalang jati Jatikusuma, Radèn 116-7, 120-5, 154, 158, 181, 187, 191-6, 199-214, 229, 3049, 317-25, 329-30 Java, traditional 1-3 Jayabaya 55 Jayatalatu 223, see also Gatotkaca jejer [major audience scene] 29, 38-9, 72, 114, 122, 127, 146 jejer Ngastina 38 jejer pandhita 39 jejer pathet sanga kaping kalih 39 jemblung [from gemblung, crazy, maddened] see dhalang jemblung jineman [kind of musical form] 47, 92-3, 244, 456, 458 Jodipati 223-4, 294-5, 307, 331, 333-5 Jogja see Yogyakarta Jongparang 72, 115-22, 124-5, 153-4, 158, 162, 177-8, 180, 185-7, 191, 196-200, 202-3, 214-5, 228, 235, 272, 275, 282, 284-5, 299, 301-5, 314, 318, 332 jugag [short, abbreviated] 48, 142, 201, 231, see also pathetan jugag Jumirah (Ni Jumirah) 80, 246, 249, 252-3 Juni 149, 164, 177, see also Sangkuni

564

Index

Kakitunggu Jagung, ladrang/lancaran 337, 520-1 Kakrasana, Prabu 133, see also Baladèwa kala [time] 69 Kala (Bathara Kala) 63, 69 Kala Ganjur 337 Kala-Rudra see Kala Kamandaka, Radèn 105, 108 Kanthong 249, 280, 288-9, 303, see also Garèng Kapferer, Bruce 4 Karna 140, 170, see also Basukarna kaselingan [insertion of] 343 kayon [tree of life figure] 42-4, 65, 69, 72, 240, 273-4, 340, see also gunungan kebatinan [divine self] 60 kebupaten [regency] 2 - Kebupatèn Banyumas 7 kecrèk see keprak Keeler, Ward 57, 59-60, 71, 79, 82, 87, 91, 95, 247 kejawèn [Javanese animism] 89, 265 kéjèk [writhing] see kendhangan kéjèk kempul [gamelan instrument] 46-7, 56-7, 94, 171 Kendeng (Kendeng mountain range) 27 kendhang [drum] 45, 238, 272, 286, 418, 503, see also buka kendhang kendhangan [drumming, drum part] 171, 291, 478, 482, see also buka kendhang and kendhangan kéjèk kendhangan kéjèk [‘writhing’ drum part] 171, 173, 176, 226, 231 kenong [gamelan instrument, musical part] 46-7, 52, 57, 94, 171, 318, 337, 475 keprak [hanging metal plates struck by the dhalang] 51-3, 81-2, 87 keprakan [rhythms struck on hanging metal plates] see dhodhogan kerep [close together, frequent] see gendhing kethuk kalih kerep kesenian Banyumasan [Banyumas style art, fine arts] 101, see also seni - kesenian rakyat [folk arts] 100 - kesenian tradisi [traditional arts] 100 ketawang [kind of musical form] 46, 58, 61, 337, 343-4, 456, 458

kethoprak [folk theater] 81, 86 kethuk [gamelan instrument] 47, 57, see also gendhing kethuk kalih kerep keturunan see dhalang keturunan klenèngan [concert music] 36-7 Knebel, J. 105 kombangan [sung pitches] (kombangan dhalang) 49, 51-2, 134-5, 142, 151, 153, 166-8, 171-2, 175, 225, 232, 272, 281, 283, 291, 293-4 Kornhauser, Bronia 241 kothèkan lesung [rice-pounding rhythms] 37 kraton [palace] 3, 100-1, 104, see also palace Kresna 94, 119, 121, 124, 139, 155, 224, 292, 294-302, 336, 339 kris [dagger] 26, 68, 83 kroncong [kind of guitar based music] 241 Kroya 27 Kumbayana (Resi Kumbayana) 133, see also Durna kundhi [kind of knife/dagger] 26 Kunst, Jaap 97, 265, Kurawa (Kurawas) 20, 22-3, 82, 93, 1146, 122, 129, 132, 137, 140, 146, 150, 157, 164, 172, 177, 182-3, 215 Kurupati, Prabu 132, see also Suyudana and Durydana Kusuma Dèwi/Ratu Banowati see Banowati Kusuma Recording 6 ladrang [kind of musical form] 46, 50-1, 58, 61, 165-6, 186, 259, 314, 337, 343-4, 392, 402, 404, 475-6, 509, 520-1 lagon [mood piece] 48, see also pathetan and lelagon lagu dolanan see dolanan and gendhing dolanan lakon [plot] 24, 38, 60, 79, 82, 86, 94 - lakon carangan 20, 22, 29-30, 75, 79 - lakon jejer 29 - lakon pakem 20, 29 - lakon pokok 29 Laler Mengeng, gendhing 50 lampah [walking, moving] 46, 248, see

Index also gendhing lampah lampah sarèh [calm movement] 47 lampah, sereng [agitated movement] 47 lampahan [plot] 24, see also gendhing lampah and lakon lancaran [kind of musical form] 46, 248, 288-9, 337, 446, 486, 493, 520-2, see also lancaran mlaku lancaran mlaku [kind of musical form] 318 landa [Westerner, Caucasian] 12 Lara Ireng (Dèwi Lara Ireng) 260, see also Sumbadra laras [scale, tuning] 127 - laras miring 225, 418 - laras pélog 37, 164, 166, 186, 188, 1912, 194, 196-9, 201, 206, 209, 250, 252, 314-5, 317-9, 322, 340, 392, 402, 404-5, 408-9, 456, 458, 460-1, 509, 511, 513-4, 517, 522 - laras sléndro 45, 52, 92-3, 127, 136, 142, 144-5, 149, 151, 159, 161-2, 164, 167-9, 171-80, 182, 184, 211, 213, 221-3, 225-6, 230-2, 235-6, 238, 240-1, 243-4, 246, 248, 255, 259, 261, 267, 269, 271-8, 280-3, 285-6, 288-91, 293, 297-301, 3034, 308-9, 313, 323-5, 327-38, 340, 343, 357, 378-9, 389-98, 402, 409-11, 417-22, 436, 439, 441, 443-4, 446, 467-8, 475-82, 485-6, 493, 503, 506-8, 517-22 Laras Atun (Ni Laras Atun) 89-90 lènggèr [traditional itinerant female dancer] 17-8, 20, 93-4, 119, 124, 285, 287 Lengkur see Pétruk Lesmana (Radèn Lesmana) 195 Lesmanawati 195 lik [upper register] 475, 476, see also ngelik Lindsay, Jennifer 100 Lipsitz, George 87 Lowe, Lisa 107 Lysloff, René T.A. 1, 55, 61, 70, 84, 92-3, 95, 127, 136, 286 macapat [traditional poetry] 47-8 Madukara 38, 72, 117-8, 124, 210, 214-5, 221, 228-9, 236, 249, 257, 259, 272, 276-

565

7, 328 Mahabharata 4, 17-8, 20, 28-30, 41, 71, 75, 79, 82, 114-5, 128-9, 154, 285, 305 Majapahit (Majapahit kingdom) 55, 85, 105 mandheg [to pause, stop] 241, 250, 345, 436, 439, 443 Mandura 115, 133, 139, 177 Mangkubumi 104-5 mantra [incantation] 44, 86 Mashpee (Mashpee tribe) 106 Mataram 3, 27, 105, see also gendhing Mataraman Mataraman [Mataram style] see gendhing Mataraman mayang [perform wayang, as a dhalang] 12 Mayangsari 90 McDermott, Vincent 57 memory 87, 107 Menganti (Ki Dhalang Menganti) 26-7, 91 Mengantian [kind of musical form] 27, see Menganti Mijil Kethoprak, jineman/ketawang 50, 249-50, 254, 456, 458 minggah (inggah) 186, 259, 343, 389, 402, 475-6, see also inggah and umpak minggah mipil [to take or pluck one by one] see pipilan miring [slanted, flatted pitches in music] 26, 225, 236, 418, see also laras miring Mojang Priangan, gendhing dolanan 50, 251-2, 254, 461 Mrazek, Jan 32-3 Mrenges (Dèwi Mrenges) 260, see also Sumbadra Mudjanattistomo 36, 39, 66, 69, 243, 337 Mulyono, Sri 59-60 Murwakala 69 musik [Western music] 88 Nakula 64, 115, 118, 121, 124, 142-3, 146, 224, 267, 292, 296, 299, 334 Nala see Garèng Narada (Sang Hyang Narada) 119, 124, 282-4

566

Index

narration 4, 7, 16, 21, 28, 30-1, 35, 38-9, 45-6, 50-2, 55, 62-3, 66-8, 71-2, 79, 84, 114, 122, 128, 130, 134, 199, 272 Nartosabdho 25, 80-1, 87, 101-3, 109, 241, 255, 288, 314, 318, 322, 349, 353-4, 467-8, 509, 511, 514 nawa [nine] 67 Nayantaka Bugagati Bugasampir 242, see also Semar ndhawah (dhawah) 61 New Order, 2-3, 85, 57 Ngamarta 21-2, 64-5, 72, 113, 115, 117-9, 121, 123-4, 141-4, 146, 215, 219, 222-4, 236, 267, 291, 296-7, 299, 301, 338-9 nganyut [to enrapture] 56 Ngastina 21-2, 38, 93, 113-6, 122, 130-3, 141, 146, 149, 156-8, 162, 168, 170, 172, 179, 183, 185, 191, 199, 202-3, 210, 3046, 317, 328 Ngatidjo 105 Ngawangga Tengah 115, 133, 140, 169 Ngawangga Trisaya 133 ngelik [to go into upper octave register] 392-3, 403-4, 475-7, 480, 485, see also lik ngèlmu [mystical knowledge] 86-7 ngeter [rhythmic knocks by the dhalang] 53, 403, 415, 417, 420, 475, 477 ngganter [rhythmic knocks by the dhalang] 53, see also ngeter Nini Thowok (Nini Towok), gendhing dolanan Semarangan 50, 255-6, 467-8 niyaga [professional gamelan musician] 12 Nojowirongko 36, 39, 41, 66, 240, 337 numerology 60, 236 Odipati, Sang Hyang 67, see also Hodipati Oemarmadi and Poerbosewejo 2, 105 ompak see umpak Orèk-orèk 337, 519-21 overture see talu Padmosoekotjo 69 Pajajaran 104-5 pakem [primary, trunk] see lakon pakem palace 2-3, 5, 100-1, 104-5, 108, 115-21, 125, 130, 133, 137, 141, 143, 146, 150,

165, 168, 178-9, 186-7, 197-200, 214, 224, 243, 249, 257, 291, 297, 301, 303-6, 313-4, 326-7, 330, 338, see also kraton palaran [kind of musical form] 47-8, 52, 61, 171-2, 175, 225, 272, 343, 353, 3945, 418, 478 panca [five] 67 Panca Radya, Kingdom of 260 pancanaka [Bima’s deadly fingernails] 337 Pandhawa (Pandhawas) 20-3, 28, 64, 70, 72, 82, 93, 113-5, 117, 119-25, 129, 137, 140-2, 144-7, 149, 157, 210, 292, 301, 305-6, 308, 332-3, 337 pangkur [kind of poetic meter] 47, see also Pangkur Paripurna Pangkur Paripurna, palaran 272, 343, 353, 478 Paramayuga 28, 128-9 Paréanom, minggah/inggah 58, 343 Parwas 129 Pasopati (Kyai Pasopati) 118, 124, 280-2, 284 patalon [overture] 47, 58, 121, 344-5, see also talu pathet [musical mode] 26-39, 44, 48-50, 55, 59, 63 - pathet barang, pélog 314-5, 317-9, 322, 340, 509, 511, 513-4, 517, 522 - pathet lima, pélog 186, 188, 402 - pathet manyura, sléndro 313, 323-5, 327-38, 340, 343, 517-22 - pathet nem, pélog 37, 166, 191-4, 1969, 201, 206, 208-9, 250, 252, 392, 404-5, 408-9, 456, 458, 460-1 - pathet nem, sléndro 52, 127, 136, 142, 144-5, 149, 151, 159, 161-2, 164, 167-9, 171-80, 182, 184, 211, 213, 221-3, 225-6, 230-2, 357, 378-9, 389-98, 402, 409-11, 417-20 - pathet sanga, sléndro 45, 93, 235-6, 238, 240-1, 243-4, 246, 248, 255, 259, 261, 267, 269, 271-8, 280-3, 285-6, 28891, 293, 297-301, 303-4, 308-9, 421-2, 436, 439, 441, 443-4, 446, 467-8, 475-82, 485-6, 493, 503, 506-8 pathetan [mood song] 44, 48-50, 65, 92, 142, 244-5, see also sulukan pathet

Index pedhalangan [the art of puppetry] 5, 15, see also dhalang Pekalongan 9 pélog see laras Pemberton, John 2-3, 77 Pendhawa see Pandhawa perang 21, 38-9, 47 - perang ampyak 183 - perang brubuh 337 - perang gagal 64, 117 Permadi 210, 297, 320-2, 324-5, 284, see also Janaka and Arjuna (Hwang Permadi) pesindhèn 6, 10, 13, 27, 42, 50, 80, 82-3, 88, 90, 94, 102, 148, 237, 243-4, 246-7, 252, 325, 443, 511-3 pesisiran see Banyumas Pétruk 18, 26, 50, 68-9, 71, 74, 94, 118, 120, 123, 240-1, 243, 249-57, 259-60, 262-6, 269-71, 273, 276, 278-90, 303-4, 326-8 Pigeaud, Th. 28, 265 Pink, Peter Wilhelm 16 pipilan, [to take one by one, walking style] 410 Pisang Bali, ketawang 337 playon [running, kind of musical form] 47 Playon, minggah ladrang 186, 402, 404 plot see lakon Poerwadarminta, W.J.S. 69 Poerwasoepradja 105 poetic meter 47-8, see also macapat poetry, traditional 48, 79 possession 56, 86-7 prabu [king] 132-3, Prawiroatmodjo, S. 69 Prawirohardjo, Sita 36, 66, 337 Priangan 2, see also Mojang Priangan Pringgandani 223, see also Gatotkaca Puji Astuti, gendhing Magelangan [gendhing in the style of Magelang] 50, 2445, 254, 443-4 Puntadèwa 114-5, 118-9, 121, 124, 141-4, 146, 157, 224, 257, 291-302, 306, 332-4 Purba Kencana 7, 15-6 Purbalingga 2, 7, 219, 246, 250 Purbaya 223, see also Gatotkaca

567

Purwakandha 28, 128-9 Purwokerto 7, 9-10, 15, 26-7, 84, 94, 219, 247, 324 Pustakaraja (Pustaka Raja, Pustakaraja Purwa, Pustaka Raja Purwa) 20, 28-9, 128-9 Putra Kurawa 182-4 radèn [prince, aristocratic title] 223 Rajananggala 175-6 Rama 28, 68, 240 Ramayana 4, 28, 30, 41 rambangan [kind of musical form] 47, see also palaran Ranggawarsita 28, 69 Rasito (Rasito Purbopangrawit) 7-9, 16, 24, 26, 36, 80-2, 93-4, 95, 103, 134, 159, 184, 227, 241, 252-3, 270, 314, 337, 339-40 Rassers, W.H. 63, 69, 83, 256 rebab [two stringed spike fiddle] 36, 45, 48-9, 52, 247, 252-3, 464, 466, see also buka rebab Rekatatama, Sang Hyang 22, 119, 121, 294, 307, 333-4, 336-8 Rekatawati, Dèwi 22, 119, 121, 294, 307, 330-1 Reminick, Ronald A. 106 Renyep, gendhing 259, 475 resi [title for religious teacher] 133, see also Kumbayana Respati 132, 187 Ricik-ricik, lancaran Banyumasan (lancaran in Banyumas style) 119, 288-9, 486 Ricklefs, M.C. 104-5 Rita 215, 218, see also Sarawita Roeslan Doyowarsito 105 roh [spirit] 60 ronggèng [traditional itinerant female dancer] 15, see also lènggèr and street dancer Rosaldo, Renato 106 ruwatan [purification ritual] 32, 63, 71, 130 sabetan [gesture, puppet movement] 41, see also sabetan balungan sabetan balungan [balungan gesture] 271, see also sabetan balungan kréasi

568

Index

sabetan balungan kréasi [creative musical gesture] 92, 159-60, 182, 222, see also balungan and genjlèngan balungan sabrang [other side, foreign] see adegan sabrangan sabrangan [the other side, foreign kingdom], see adegan sabrangan sad [six] 67 Sadéwa 64, 115, 118, 121, 124, 142-3, 146, 224, 267, 292, 296, 299, 335 Sahudi (Pak Sahudi) 249 sakti [supernatural power] 58 sampak [kind of musical form] 5, 47, 513, 56-9, 61, 65, 239, 337, 396 - in Solonese style 168, 171, 173, 17580, 225-6, 230-1, 272-82, 285, 298-303, 308-9, 323-5, 327-30, 332-6, 340, 393-7, 419, 477-82, 485, 507-8, 517-9, 521-2 - sampak Banyumasan 240-1, 422, 4356, 439, 441 - sampak gara-gara 45, 47 - sampak guntur 37, 343, 345, 356 - sampak lasem in Solonese style 41820 sanggit [creative skill] 29, 73, 113 Sangkuni (Arya [Harya] Sangkuni, Radèn Sangkuni) 115, 133, 141, 147-9, 155, 157-8, 163-4, 176-9, 182-4 sapta [seven] 67 Sarawita 25-6, 94, 117, 123, 214-21 saron [gamelan instrument] 27, 45, 94, 159, 173-4, 184, 286-7, 290, 315, 337, 393, see also buka saron - saron sanga [saron with additional keys] 493, 520-1 saron wayangan see saron sanga Sarung Jagung, gendhing dolanan 120, 317-8, 511-2 Sastrapustaka, Radèn 59 Schubert, Franz 50 Sears, Laurie 20, 28-9, 32, 75, 128 sekar [song] 48, see also sekar ageng sekar ageng [song based on a poetic form] 48 Séla Metangkep 239 selingan [musical piece inserted within another musical piece] 45, see also kaselingan

Semar 26, 37, 50, 69-72, 74, 83, 94, 114, 118-9, 121, 123-4, 236, 241-57, 260-4, 267-70, 273, 276-8, 290, 297-300, 338-40 Semarang 36, 101-2, 241, 254-6 Semarangan [Semarang style] 255, 467 Semeru see Gunung Semeru Séna 336, see also Bima or Wrekudara Sena Wangi 15, 39-40, 66, 92-3, 95, 134, 337 sendhon [mood song] 48, 92, 180, 194, 206, 211 - sendhon kloloran 191, 201 - sendhon tlutur 180 senggakan [short vocal phrases in music] 103, 246, 346-56, 369, 379, 398-402, 405-8, 411, 413, 422, 427-33, 444-6, 456, 458-9, 478-9, 484-6, 489, 495 Sengkuni, Radèn 133, see also Sangkuni seni [art, fine arts] 3, 8, 25, 99, see also kesenian - seni rakyat [folk arts] 3, 100 - seni tradisi [traditional arts] 100 Serat Kandha 28 Shiva 69-70, see also Guru (Bathara Guru) and Kala (Bathara Kala) Si Kandhawaru 67 Si Mblegedhaba 67, 239 Si Ogal-Agil 67, 239 sindhènan [female solo vocal part] 136, 244, 246, 249, 252-4, 358, 379, 411-6, 418, 422-32, 436-9, 442, 444, 446, 456, 461-7, 478-9, 483-6, 489, 495, 504-6, 515-7, see also pesindhèn Singa-singa, ladrang 314, 509 sinom [kind of poetic meter] 47 Sinom, palaran 175, 395 sirep [extremely soft music playing during narration] 39, 51-2, 127, 136, 152, 161, 172, 175, 186, 213, 223, 225, 259, 272, 282, 292, 314, 339, 378, 391-4, 396, 403, 410, 417, 419, 475, 479, 482, 506, 509, 521 sirepan see sirep Siswoharsojo 68 Situmang, Ki 27 Slamet see Gunung Slamat sléndro see laras SMKI (Sekolah Menengah Karawitan) 8

Index Solo see Surakarta Soepardjo, Radèn 14 Sontoloyo 26 Srenggini (Radèn Srenggini) 21-2, 26-7, 64-5, 72, 74, 93, 113-4, 117, 119-21, 1235, 270, 294-6, 302, 307, 331, 333-6, 338 Srenggini Takon Bapa 93-4, 144, 224 srepeg see srepegan srepegan [kind of musical form] 5, 27, 45, 47, 52-3, 56, 58-9, 61, 102, 145, 184 - Banyumasan 240, 318-9, 322, 345, 349, 354, 421, 428, 513-4, 517 - in Solonese style 172, 225, 267, 269, 272, 275, 286, 297, 300, 304, 309, 476-7, 479-80, 485, 506, 508 - srepegan dugangan 221, 410-1 - lasem in Solonese style 145, 151, 1612, 164, 175, 197, 199, 201, 389-92, 3956, 408-9, 418 - lasem Mataraman 182, 192, 213, 223, 397-402, 404-9, 417 - tangisan 283, 290, 482-5, 503-6 - Tegalan 184, 402 Srikandhi (Dèwi Wara Srinkandhi) 178, 72, 114, 118-20, 124-5, 260-4, 266-9, 272, 277-90, 303, 326-9 Srikandhi Mbarang Lènggèr 16, 93-4, 113, 224 Srikaton, ladrang 58, 343-4 Stoller, Paul 87 stratification 46 street dancer 285-6, 290, 326, see also lènggèr and ronggèng STSI (Sekolah Tinggi Seni Indonesia) 3, 8, 25, 99-100 Sudjono (Dhalang Sudjono) 25, 96 Sugino (Ki Sugino Siswocarito) 7-8, 107, 19, 23-5, 27-8, 35-7, 39-44, 51-2, 62, 64-73, 78-96, 101, 103, 109, 119, 129, 133, 135, 137, 144-5, 148, 158-9, 174, 176, 200, 226-7, 236, 247, 253, 255, 2734, 286, 302, 325, 337, 339-40 - cèngkok 194, 206, 211, 275, 293, 298, 300, 313, 315, 332 Sugito (Ki Sugito Purbocarito) 11-2, 14, 24-5, 27, 42-5, 59, 79-81, 84-5, 88-93, 95, 108-9, 130 Suka Lima 138

569

Sukarno (Soekarno, first president of Indonesia) 89 Sukmailang (Suksmailang), ketawang 579, 343-4 Sulani 248-51 suling [end-blown bamboo flute] 48 suluk [chanting, sung verses] 48, 244, see also sulukan and suluk gendhing suluk gendhing 134, 151, see also kombangan sulukan [mood song] 48 sulukan ada-ada see ada-ada sulukan ada-ada alas-alasan see ada-ada alas-alasan sulukan ada-ada gara-gara see ada-ada gara-gara sulukan ada-ada girisa see ada-ada girisa sulukan ada-ada greget saut see ada-ada greget saut sulukan ada-ada greget saut Mataraman see ada-ada greget saut Mataraman sulukan ada-ada manyura see ada-ada manyura sulukan ada-ada Yogyan see ada-ada Yogyan sulukan pathet lasem Mataraman 184 sulukan pathet lima wantah laras pélog 188 sulukan pathet manyura ageng laras pélog pathet barang, Banyumasan 315 sulukan pathet manyura laras sléndro, in Solonese style 313 sulukan pathet nem ageng laras sléndro 48, 92 - Banyumasan 136 sulukan pathet nem jugag laras sléndro 142, 167 sulukan pathet nem wantah laras pélog 164 sulukan pathet sanga wantah laras sléndro, Banyumasan [Banyumas style] 244-5, 293, 443 - Solonese style 235 sulukan pathet tlutur (laras sléndro pathet sanga) 93 sulukan sendhon see sendhon Suman, Radèn 133, see also Sangkuni Sumarsam 4, 57, 99 Sumbadra (Dèwi Sumbadra) 72, 90, 118, 124, 260-1, 263, 268-9, 272

570

Index

Sunda 2-3, 101, 103 Surakarta (Solo) 2-3, 8, 32, 36, 101, 104 Suroto see Anom Suroto Suryaatmaja, Prabu 133, see also Basukarna Suryati (Ni Suryati) 25, 80, 102, 245-6, 253, 255 Susuhunan (Susuhunan of Surakarta) 104-5 Sutton, R. Anderson, 4-5, 7, 27, 80, 97-8, 101-3 Suyoto 36 suyud [loyalty] 132 Suyudana, Prabu 40, 114-6, 122-3, 127, 132-3, 137-41, 143-7, 149-50, 152-7, 160-5, 168, 170, 175, 181, 184, 194, 2034, see also Duryadana Suwarti (Ni Suwarti), 83, 246-7 suwuk [end, to end] 45, 136, 145, 153, 161-2, 164, 167, 169, 172, 174, 176-80, 182, 184, 188, 192, 197, 199, 201, 206, 209, 213, 222-3, 226, 231, 233, 241, 243-4, 248, 250, 252, 256, 261, 267, 269, 273-8, 280, 283, 285-6, 288, 290, 293, 297-301, 303-4, 308-10, 315, 3179, 322-5, 327-37, 345, 358, 390-7, 402, 405, 409-11, 416-7, 419-20, 422, 441-2, 445-6, 460. 466, 477, 479-80, 492, 506-7, 514, 517-8, 521 talu [overture] 36-7, 45, 55-61, 68, 86, 121, 127, 343 Taram (Ki Taram) 14-5, 24, 27, 92 tayungan [victory dance] 337, 519 Tegal 9, 184 Téjanata, gendhing kethuk kalih kerep 186, 402 Tenung see Turanggamaya or Turanggadèsthi tepung [kind of rice flour] 37 terompet [double-reed instrument] 265, 289 tetembangan [poetry] 48 Tetuka 223, see also Gatotkaca Thingthingmo 337 Thong 249, 270, 276. 287, 289, see also Kanthong or Garèng Tinggarjaya 15

Togog 94, 117, 123, 213-21 Tohari, Ahmad 15 tradisi [tradition, traditional] 3, 4, see also seni tradisi trance 14, 56, 94, 118, 265-6, 287, 289, see also èbèg tri [three] 66 Tukang Cukur, bawaswara Semarangan 50, 255, 467 Turanggadhèsthi, Tenung 43, 52, 117-24, 187, 189-91, 195-6, 200, 202, 204-5, 209, 211-6, 218, 221-3, 226-32, 235-6, 272-4, 276-7, 281-2, 299, 302, 304, 309, 319, 325, 334 Turanggamaya, Tenung 40, 42-3, 51, 115-6, 120-3, 149, 151-8, 160-2, 164-5, 169-78, 180-1, 183, 185, 191-2, 197-8, 200-1, 223, 308-9, 334-5 Turner, Victor 4, 73-4 udhar [return to normal loudness after sirep] 51, 135-6, 153, 161, 172, 176, 188, 213, 223, 226, 261, 273, 282, 292, 315, 340, 345, 391-4, 396, 404, 410, 417, 419, 476, 482, 506, 509, 521, see also sirep Uler Kambang, jineman 12 umpak gendèr [gendèr opening to a section] 238, 271, 279 umpak minggah [transition to minggah] 378 umpak-umpakan [section of musical piece] 238 uran-uran [unaccompanied song] 48, 236, 317, 511 Van Ness, Edward C. 36, 66, 337 Venerable Flower of Love 70, 242, see also Semar Vetter, Roger 47, 56 Wahyuni (Ni Wahyuni) 80, 246, 252 wana [forest] see adegan wana wangsalan [riddle] 49-50, 339-40 wantah [complete] see sulukan pathet wayang see wayang kulit wayang golèk [three dimensional wayang] see golèk wayang jemblung see dhalang jemblung

Index wayang kulit 4, 11-2 wayang padat [condensed or abbreviated wayang] 25 wayang purwa 32, see wayang kulit wayang wong [human wayang] 101 wetah [intact] see wantah wibawa [authority] 85 Winter, C.F. 69 Wirjaatmadja, Radèn 105 Wisanggeni 225, 295 Wolbers, Paul 5 Wong, Deborah 55, 97 Wrekudara 21-2, 40, 42, 94, 115, 118, 124, 142-3, 146-8, 253, 257, 267, 270-1, 292,

571 294-6, 299, 301, 307, 330-1, 333, 336-8, 340, see also Bima

Yogya see Yogyakarta Yogyakarta (Yogya) 2-3, 5-6, 23, 25-8, 32, 36-8, 41, 47-8, 59, 61, 66, 79, 82, 88, 92-3. 99, 101-2, 104-5, 108, 129-30, 157, 337 Yudanegara IV 105 Yudhistira 63, 115, see also Puntadèwa yuyu [river crab] 22 Zoetmulder, P.J. 69 Zurbuchen, Mary 68