Performance in Java and Bali

Book Cover......Page 1
Half-Title......Page 2
Title......Page 3
Copyright......Page 4
Contents......Page 5
Acknowledgements......Page 7
Contributors......Page 8
A note on spelling......Page 12
Introduction......Page 14
References......Page 22
Introduction......Page 24
The Chinese puppet theatre in Java......Page 25
The glove-puppet theatre......Page 26
The history of the po-te-hi in Java......Page 29
The supporters of the po-te-hi......Page 30
The reason for giving a po-te-hi performance......Page 32
The po-te-hi theatre......Page 33
The furnishing of the theatre and the stage......Page 34
The orchestra and the musicians......Page 36
The ‘actors’ and the division of labour within the group......Page 37
The opening of the po-te-hi season in Kediri in 1985......Page 39
The organization of the performances and the repertoire......Page 40
The structure and the language of the performance......Page 41
References......Page 44
Introduction......Page 46
The seblang ritual of Olehsari......Page 48
Short account of the ritual in May 1988......Page 49
The music of the seblang......Page 53
Conclusion......Page 56
References......Page 57
Introduction......Page 60
The musical culture of West Java......Page 61
Towards a new dance music......Page 62
Jaipongan at festivities......Page 64
The music of jaipongan......Page 67
Conclusions......Page 68
References......Page 70
4 Character types and movement styles in traditional Javanese theatre......Page 72
Character types and movement styles in wayang wong at the kraton of Yogyakarta......Page 73
Character types and movement styles in the serat Kridhwayangga......Page 76
Character types and movement styles in the serat Wedhataya......Page 79
Character types, movement styles, and the social order......Page 81
Conclusion......Page 83
References......Page 84
5 Dance drama (wayang wong) and politics at the court of Sultan Hamengkubuwana III (1812 –14) of Yogyakarta......Page 86
References......Page 89
6 Traditional Balinese performing arts as yajnya......Page 92
References......Page 100
Culture and development......Page 104
Tradition in the cultural process......Page 106
Culture and the arts......Page 107
Palace patronage: golek Menak dance drama......Page 108
Palace patronage and the Sultan......Page 109
The inception of golek Menak dance drama......Page 110
The diversification of palace patronage......Page 111
Revival of the golek Menak dance drama......Page 114
Prospects for palace patronage......Page 116
Grass-roots patronage: tayuban......Page 118
Tayuban under threat......Page 119
Tayuban at Muntuk, July 1989......Page 120
Tayuban and healing......Page 124
The angry spirit......Page 126
Arguments about authority......Page 127
Diversification of ledhek......Page 128
Performance art as honourable service......Page 131
References......Page 133
Javanese terminology and ‘the sacred’......Page 136
Sacred musical instruments......Page 138
Sacred musical pieces......Page 140
Bedhaya Semang......Page 142
Musical structure......Page 144
Song text......Page 146
Seblang......Page 150
Semang and Seblang: a juxtaposition......Page 153
References......Page 156
Carita pantun......Page 158
Tembang Sunda (Cianjuran)......Page 162
Comparison between the two genres......Page 165
Conclusion......Page 168
Appendix A......Page 170
Notes about the rajah in Appendix A......Page 171
Appendix B......Page 172
References......Page 173
Introduction......Page 176
Music and drama......Page 177
(Gamelan) gambuh......Page 178
The special requirements of the shadow-play......Page 179
The wayang gambuh performance of The burning of the woods of King Tratebang’: analytical remarks......Page 181
Other performances, other genres of shadow-play......Page 184
References......Page 187
11 The dramatic principles of Javanese narrative temple reliefs......Page 188
Observations on the Central Javanese  reliefs......Page 190
Sitting positions......Page 192
Other poses of the head and sitting positions......Page 194
Standing positions......Page 195
Other specific movements......Page 196
References......Page 198
Introduction......Page 200
Rhythmic organization......Page 202
Melodic organization......Page 204
References......Page 209
2 Annotations on ‘equidistance’......Page 212
3 Acoustics of idiophones: some basic facts and features......Page 216
References......Page 229
14 Rassers’s comparison of the Panji tales to The tempest: an early case of anthropology of performing arts......Page 232
The ‘prototypical’ story of Panji......Page 233
Comments: original texts instead of reconstructions......Page 235
Panji the culture hero......Page 237
The narrative of The tempest......Page 239
Shakespeare and The tempest......Page 240
Rassers’s views on The tempest......Page 241
Corresponding themes in the Panji tales and The tempest......Page 243
References......Page 246
Index......Page 248