Kebyar came into being around the turn of the century and innovations were brewing between 1910 and 1915 in North Bali’s Buléléng region, the Dutch colonial administration center. Elders in Bungkulan have said that the musical dynamics of Dutch military marching bands influenced the nascient kebyar aesthetic. (Admittedly, the influence seems to have been limited to the element of explosive energy). The late 19th century, throughout the island, witnessed a creative era of Balinese–language gaguritan sung poetry (pupuh) taking on historical, mystical and romantic themes as well as sociopolitical topics expressed through the classical kakawin poetic style in the Old Javanese literary language of Kawi. At the turn of the century, a revival of interest in classical texts led to a plethora of seka papaosan literary clubs emphasizing the skills of recitation in Kawi and translation into the Balinese language using the stylized vocal phrasing of palawakya . Palawakya refers to non–metric prose ucapan ‘spoken’ in broad melodic contours, using either Kawi or alus ‘refined’ or ‘high,’ Balinese language. Literary clubs from different villages would compete against one another before ever–increasing audiences at ceremonial religious events and at night markets.

Sometimes the juru baca (pangewacen) ‘singer’/‘reader’ and juru basa (paneges) translator would sit amidst a gamelan ensemble intoning kakawin verses from the Bharatayuda(Mahabharata), or individual musicians in the gamelan might sing a verse of impromptu kakawin. (It was expected of musicians to be familiar with kakawin in order to respond musically to the sung texts). The surrounding gamelan gong would play short instrumental interludes from the classical repertoire and increasingly in the flashier musical phrasing that became kebyar. Most significantly, a solo singer would alternate his vocalizing by playfully rendering melodies on the solo trompong, a row of tuned, knobbed gongs, performed with some gaya ‘flourish’. It is uncertain at which point this trompong playing began to resemble baton–twirling in a marching band or main sulap ‘sleight of hand’. The Palawakya dance performed today derives from this practice, generally credited to I Marya’s Igel Trompong although other opinions have come to light. However, it should be noted that Marya always insisted that trompong–playing did not become a dance until he originated the idea. Indeed, two approaches to Igel Trompong developed over time: Marya’s style prioritizing the dance (and improvisation) in contrast with a style exemplified by I Nyoman Nyongnyong of Belaluan  in which the dancer would play specific melodies with trompong technique meeting the musical expectations of gamelan leader Madé Regog.

I.G.B.N. Pandji and I Gusti Bagus Tika have told us that musicians in their own village of Bungkulan were performing this explosive musical style as early as 1914 with syncopated rhythmic phrases played in unison, in combination with the gong kuna ‘old gamelan’ style called sekatian. Gong kuna was a transitional form between gong gdé and kebyar in that a more traditional lelambatan and sekati repertoire was performed on the newly evolving barungan gdé ‘expanded ensemble’ featuring—most significantly—a row of réyong ‘kettle–shaped gong chimes’ increased from four to twelve and additional bilah ‘keys’ on the gangsa ‘full–melody flat–key metallophones’ from five to between seven and ten, expanding the melodic range.

McPhee calls sekaten the “old word for bonang,” an instrument similar to trompong and reyong. But there is in fact no such literal correspondence and scholar I Nengah Medera tells us that the linguistic source of the word derives from the Arab sahadat + tain (the Muslim confession of faith) which became Javanized as sekaten during the Islamization of Java. But most relevant is a description of Javanese sekatén provided by Sumarsam: “The bonang is also used differently than in the regular gamelan ensemble. In sekatén the bonang is played by three musicians. One musician plays the row of seven gong–chimes for the upper octave, and the others play the row of seven lower–octave kettles. The musician who plays the upper–octave has a different melody than the musicians who play the lower–octave. Therefore, the sekatén bonang can be seen as two instruments, although physically it is only one.” In some way, the Balinese gong kuna innovation of a four–player réyong based on the trompong design of one long instrument actually had a precedent in 16th century Java (at the latest) and Balinese musicians were clearly cognizant of the influence, since they retained its name. Sumarsam points out historical connections (and wars) since the 17th century between Mataram, Central Java, and Banyuwangi, East Java, which was very much influenced by Balinese culture.

Before we attribute too much weight to the influence of Javanese sekaten it should be mentioned that the ancient saih pitu ‘seven–tone’ Balinese gamelan luang also has a set of trompong played by four musicians in interlocking kotékan parts. It is arranged with two sets placed up against one another, each with seven gong–chimes (or ‘kettles’), and two musicians at each set facing the other two players—rather than a single row of twelve gong–chimes with the modern réyong. Similarly, the gong gdé arrangement of two musicians side by side, each playing a separate pair of réyong, was precedent enough for a Balinese origin of the expanded réyong, save for the intriguing link with the term sekaten.

to be continued………..

Buleleng is not just rich with traditional art performances but also produces many creative modern art performaces, modern drama for instance. The example for this modern drama performace was staged on the opening night of  International Conference and Festival Cultural Identity of North Balinese. This modern drama was performed by Made Sukadana and his troupe, they performed a story entitled “Cupak makan tanah” (Cupak eats land).

This modern drama enacted a story about Cupak, an antagonist in traditional Balinese folktale “Cupak and Grantang”. Cupak had a strange apetite for land, he ate land. His underlings tried their best to find a delicious land to be eaten by Cupak, Cupak loved to eat beachfront estate, forest or lake side, but the kind of land Cupak love most was the land on which the house of representative stand so he ordered his underlings to get the land so he could enjoy the feast he had wait for a long time.

This modern drama is a form of social and political critic of popular issues that happen in Buleleng. It talks about land acquisition by the tourism magnate, corruption in house of representative and other up to date social problem.

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Buleleng one of Bali regency is rich with gamelan repertoires, Lelengoran is one of them. Lelengoran is a gamelan style that is considered as the prototype of the popular Kebyar style. Lelegoran was introduced for the first time in the village of Bungkulan, in East Buleleng around and spread to West Buleleng around 1914.

Lelongoran is used to accompany religious ceremony in the temple and considered as sacred musical style. Though Lelongoran uses pentatonic scale like other Balinese gamelan, but it has a dynamic and explosive characteristic that differentiate it with other gamelan styles from other areas.

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Nowadays the genjek can be used as an extension of a person’s artistic expression as well as a medium for relaying information. The rapid popularity of genjek is understanable since one is free to create one’s own lyrics. Joy, is the basic characteristic of genjek, the joy of genjek comes from the lyric of its song. Often these lyrics take the form of love, bawdy jokes on everyday activities, criticism of politics, modern times, people’s changing values and so on. The public can easily relate to these messages, due to genjek’s simple and accessible form. Moreover, genjek lyrics always have the local audience in fits of laughter.

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One of many unique art performances that can be found in Buleleng is Rengganis. Rengganis is similar to acapella in Western country but Rengganis is not imitation of musical instruments but rather imitation of various frogs’ sounds. The word “rengganis” means “symphony of silence”. The song of Rengganis was created in the style of Dangdang Gula hymn.

The creator of Rengganis, Gusti Made Alit got his inspiration when he guarded the rice in the rice field after a harvest; he heard the sounds of various kinds of frogs like a melody in a silent night. The beauty of this melody inspired him to create the Rengganis.

Rengganis is a social art performance; it is performed to entertain guests in a ceremony or to enliven the atmosphere when drinking tuak.

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International Conference and Festival Cultural Identity of North Balinese were held successfully from July 30 to August 2, 2009. The conference formulated four recommendations that are aimed to preserve North Balinese culture. These four recommendations are,

1. There is a need for political will from the government of Buleleng and Bali, the house of representative of Buleleng and Bali, government as well as private institutions, artists, culture connoisseurs and public in general to work hand in hand in preserving North Balinese culture.
2. To promote the passing of bills that protect the preservation and development of North Balinese culture that take their root from government regulation on the preservation North Balinese culture’s legacies.
3. A data base of all North Balinese culture’ aspects especially art troupes, artists, architects, art performance, oral art performance, language, custom, art potential of each village,  and others cultural legacies that is tangible or intangible, needs to be built  through the collaboration of Undiksha, Buleleng government, and Preservation of North Balinese Culture Foundation.
4. An action plan that comprises publication of International Conference and Festival Cultural Identity of North Balinese’s proceedings, WOJ Nieuwenkamp’s sketches and Van der Tuuk picture collections needs to be formulated.

Other action plans are conducting workshops on certain topic and other activities in relation with North Balinese art and culture at least once a year; conducting International Conference and Festival Cultural Identity of North Balinese once every four year; developing pilot project of preservation and development of North Balinese culture, developing an art school or art department which has characteristic of North Balinese culture, creating more space to express the North Balinese culture, developing Information Center for North Balinese Culture,  promoting coordination among Gedong Kirtya Museum, Buleleng Museum, and Modern Art Museum that will be established, preserving and developing North Balinese culture through education institution with intra and extracurricular program, and raising fund from all resources for preservation and development of North Balinese culture.

These recommendations are seen as starting point to preserve and develop North Balinese culture so North Balinese will not lose their identity.

The International Conference and Festival Cultural Identity of North Balinese was not just all about North Bali but it was also about harmonious synergy between North Bali and South Bali. This harmonious synergy was shown in the collaboration of North and South Bali artists in performing Bondres drama performance (8/1/2009).

I Nyoman Durpa, an artist from Buleleng performed the bondres with three artists from South Bali which are members of RRI (Republic Indonesia’s Radio) bondres troupe. They were accompanied by Dwi Mekar Gamelan Troupe which is led by I Nyoman Durpa. This bondres performance combined humor and advice as well as messages to preserve the local culture.

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The International Conference and Festival Cultural Identity of North Balinese (30 July – 2 August 2009) is highlighted by painting, handicrafts and photos exhibitions, craftsmanship demonstration by Buleleng’s craftsmen and the performances of Buleleng’s art maestros.

The painting and handicrafts exhibitions as well as the demonstration by Buleleng’s craftsmen take place at the hall of Buleleng’s Cultural and Tourism Department. The painting and handicrafts exhibition is held inside the hall. The painters who participate in this the exhibition are those who born and grew up in Buleleng or spent long period of time there. As for the craftsmanship demonstration it is held outside the hall. The craftsmen who show their skill and talent range from sculptures to the makers of perasi (drawing on processed palm leaf).

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Hosted by Undiksha, Universitas Pendidikan Ganesha Singaraja. With the support of Yayasan Pelestarian Warisan Budaya Bali Utara (Bali),RRI, foundation Irama, BAKE society (the Netherlands).

Undiksha, Universitas Pendidikan Ganesha Singaraja presents the first International Conference and Festival on the ‘Cultural Identity of Buleleng’. Both Conference and Festival take place in Singaraja. Its aim is to (re-)discover the cultural heritage of the Buleleng regency, to describe, discuss and expose its artistic identity, and to stimulate the revitalization of its performing arts in particular. Highlights include a mabarung (competition) between east and west Buleleng gong kebyar orchestras, an evening featuring rare and sacred ensembles, and the presentation of contemporary and newly commissioned works. All concerts feature seniman tua (old masters). In the context of the conference, lecture-demonstrations will be given on the specific characteristics of North Balinese performing arts, and its interactions with south Bali. The conference also marks the opening of Roots of North Balinese culture, an exhibition of old photographs of parba, drawings, prasi and other works that have been preserved in Dutch libraries.

We still welcome contributions to the conference. Let yourself be inspired by the program below! We strongly hope that all known performers and scholars in the field will consider participating. We also hope young experts and artists will be present in large numbers.