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Annotated Guide to Indonesian Performance Videos

The annotated inventory of Indonesian performing arts videos presented here is intended to provide greater detail on the contents and quality of these videos than has been available in the initial cataloguing. Attention was paid to stylistic elements, genres presented, sequence of plots and dances, and musical accompaniment in hopes of enabling scholars and performers to locate particular items that might be used in research and teaching on performing arts (and, in many cases, television representations of performing arts). To date, not all relevant videos have been annotated, though all of those of televised performing arts have been, along with a significant portion of those that document live performances. This inventory was prepared by R. Anderson Sutton, School of Music at UW-Madison, who welcomes comments, corrections, and suggestions on the entries.

SA-660 (2 cassettes: I = 117 minutes; II = 66 minutes) SENI TAYUB.
Documentation by Taman Budaya Surakarta

  1. Poor quality video, but shot at a live tayuban somewhere in Central Java. Opens with shots of the musicians, poor, village, no costumes. Shots of villagers watching the gamelan players. Then two talèdhèk dance gambyong, after which they sit with an old man, who looks uneasy, sitting in his beskap (jacket), kain (batik skirt), and blangkon (turban). He dons a pink scarf and dances with one of the talŠdhŠk. There are also several men in suits. More and more people begin to dance By 1:13 ca. 20 young men are up dancing, though with only two or three talèdhèk. There is no evidence of drink--surprisingly--but some food is served. The gamelan plays a lagu dolanan with rhumba rhythm for the young men to dance in disco-style. The talèdhèk only seem to dance and socialize with the guests, but do not sing. Rather, a pesindhèn sings all the pieces. The sound track drops out completely at 1:30, but comes back at about 1:40.
  2. On tape II, the video ends with gambyong to Gendhing Gambir Sawit, after which there are shots of Dukuh Dawung--most likely the location of the evening's tayuban--shown in the daylight. Peasants are going to the rice fields to work, seems to be one of the talèdhèk.

SA-664 (2 cassettes: I = 113 minutes; II = 120 minutes) WAYANG UWONG -- KRATON YOGYAKARTA

  1. This is performed in front of a live audience. The title of the story is not given, but some aspects suggest "Arjuna Wiwaha." The first scene involves lots of gods, all sitting cross-legged (sila) during the singing of a lagon, then narration (kandha). They all dance to Gendhign Mega Mendhung, loud-style (soran). This is followed by a soft piece for a group of female dancers. Playon serves as accompaniment for a king who enters. The gamelan is behind the dance stage, with a row of singers and the narrator up front. There is a large photo of Sultan Hamengku Buwana IX framed and displayed prominently stage left. The kandha and dialogue (antawacana) are not clear on the tape. A giant enters, looking like Niwatakaca or Kumbakarna. A king appears with two punakawan and attacks a female in a ring (Supraba or Sita?). The two punakawan speak of a messenger from the ogre king. Then the usual four punakawan (Semar, Petruk, Gareng, Bagong) enter.
  2. Tape II opens with a large number of refined male dancers along with the white monkey Hanoman (a Ramayana character). They face a king with a praba, and an elephant (played by two men in large costume) walks on. Shiva (with four arms; two real, two added) appears with a bow, and meets with another god. Bima enters, sits on a throne, and a small character in white appears from the seat, just behind Bima. A strong male character with praba goes up to the throne and takes a weapon from the little character (god?) in white. A female character arrives with the four punakawan, just after Shiva and the other god have left. Petruk mentions Arimbi to Bima, but seems to refer to the female in their company presently as Srikandhi. Then Togog and Sarahita enter with the giant (Niwatakaca?). Gathotkaca and another male with praba fight, again with mention made of Arimbi. Then all the various ugly ogres of the giant king (Niwatakaca?) attack. Two females enter on two large garuda birds men in costume) and fight. They dismount and continue to fight (the one identified as Srikandhi and another in green, and with praba). Others fight, followed by Hanoman against the king with the praba (could this be Rahwana?), accompanied by Nala Ganjur (two-tone piece). The battle is inconclusive. Then Arjuna meets a female on a garuda bird, tries to shoot her, but instead of him killing her, they seem to fall in love. The giant (Niwatakaca?) meets and fights with Bima, accompanied by Gangsaran, followed by Sampak/Playon Galong. Bima drives him off with his club and also hits the garuda bird. All the Pandhawa and others reappear, kneel (jèngkèng), and then exit, with a final lagon serving as the musical accompaniment.

SA-667 TIGA PENATA TARI MUDA (Three young choreographers) 1987
Documentation at IKJ (Institute Kesenian Jakarta)

  1. "Damar Wulan." Choreographer: Ninik Harini; Musical accompaniment: Untung Mulyono.

    Lots of female dancers, kneeling, but with shorter than usual batik skirts, as if female warriors. The dancing is mostly in Yogyakarta style, with typical dance-drama (sendratari) type accompaniment, linking pieces together. some solo singing and loud solo saron playing in modern style, mostly in laras sléndro. Eight female dancers in bedhaya style, accompanied by a ladrang bedhayan, followed by singing against a lively lancaran piece, and then some palaran. Variation on Playon p‚log barang, then solo gambang in pathetan style for a death scene. Lots of fights, hard to tell wich characters, since they are all female and in similar costumes. Not staged as a langendriyan.

  2. "Garis-garis" . Choreographer: Bambang Soeyono. Musical accompaniment: Drs. Y. Soebowo.

    Irregular rhythm saron playing and a very dark stage open this unusual dance. Eight men appear, performing with obvious modern dance influence, then 3 women. Dance is mostly abstract, non-narrative. Gamelan accompaniment is unconventional, mostly saron-dominated. There is silence as men move in modern dance style, swinging what appear to be large yoyos. Women enter to lively gamelan, very repetitive. Other male and female dancers accompanied by hand-clapping rhythm, then silence. This followed by more monotone gamelan, with Balinese-type ostinato added, but dancers NOT in Balinese style--again, more modern/Western. Very avant-garde, distorted gamelan sounds as one male and one female dance, then rebab and buzzy sound, followed by return to loud saron playing.

  3. "Renungan" choreographer: Begawan Ciptoning; musical accompaniment: FK Soebanyo (sp?)

    Ostinato gamelan introduction, in sl‚ndro, with suling prominent. Speaking, with very dark stage, as one male enters with torch. Singing involves alternation between male and female, over ostinato. An angklung-type sound, followed by chorus singing in 2-part counterpoint. Dancers manipulate stretched sheets of cloth, one male caught and bound in a cloth. Solo gendèr introduces a new ostinato, as the male is tied to a scaffold, but he gets off and joins the other male dancers. A solo woman's voice (macapat?) against a drone chanted by males; then unaccompanied shouts alternating between male and female. Pathetan as men meditate and dance slowly, gendŠr played with non-padded beaters (thus loud and metallic). A standard Javanese gamelan piece, with bedhayan singing, later purely instrumental. Four men and women in unusual hopping and twirling. Solo suling as one woman dances by the scaffold. Female chorus sings over soft gamelan, one dancer lying on top of the scaffold. A chorus sings in triple meter, accompanying a proud strut. Cacophonous yelling gives way to solo male voice in bawa style answered by females on two different pitches, as others climb onto scaffold. Dancers exit through the audience to chanting voices, then a voice from the stage speaks in Indonesian.

SA-668 (162 minutes) WAYANG TOPENG YOGYA DARI HAMONG BEKSA

A performance sponsored by the Yogyakarta Office of Education and Culture (PDK, Proyek Pengembangan Kesenian DIY). Entitled: "Pagelaran Wayang Topeng Yogyakarta" 4 January 1986, at Taman Budaya, Yogyakarta. Drs. Puger gives the opening welcome (very poor quality soundtrack throughout). Others give introductions, then musicians perform a gamelan piece and a lagon. A black curtain slowly opens, revealing a blank stage, blue-lit plain background, gamelan not visible. Lots of strong-male (gagah) masked dancers in a group, and one refined male, separate. Speaker mikes are hanging from the ceiling. The large group exits. Punakawans enter (ca. 40:00). The accompaniment is clearly Yogyanese style gamelan music, including lots of Playons. Females enter and dance together. A green-faced refined character dances with a white-faced female. A white-faced strong male dances later with a different female. Around 2:00:00 there is a battle between two strong-male characters. After this, a gold- faced refined characer (Panji?) fights with a red-faced, rough character (kelana). The refined character shoots and kills him with an arrow, accompanied by Playon slendro manyura, and Playon Galong. Gangsaran accompanies a red-faced strong-male character fighting a blue- faced character, with Sampak Galong as last of the strong-male characters exit. The refined group reassembles on stage, with the females for the ending. A bubaran gamelan piece plays as the curtain closes.

SA-673 (73 minutes) WAYANG ORANG MANGKUNEGARAN

Celebration of 40th anniversary of Mangkunegara VIII's coronation as prince (1944- 1984). "Pengetan 40 Tahun 19-7-1944 - 19=7-1984 Jumenengdhalem S.I.J. Mangkoenagoro VIII Hing Surakarta ing pandhapi ageng." Actually a variety of performance genres, not just wayang orang, but very poor quality sound and video.

  1. Female Dance (Golèk) with all the royal family and guests sitting in chairs. The main gamelan piece is Gendhing Lambangsari, but after the dancer sits sila and begins to dance again, there is soft gamelan (rep) with very prominent solo pesindhèn, loudly miked. A separate piece is used for final walking, sembah and exit.
  2. Speech (only a portion shown)
  3. Three srimpi dancers, with gendhing kemanak and vocals (almost certainly Srimpi Anglir Mendhung). Slow exit to Ladrang Singa-Singa, p‚log pathet barang.
  4. Wayang Orang excerpt:
    begins with a bambangan character (played by a female) and two female characters. They are joined by many more females and a refined king, with praba. This party is then visited by a strong-male king, but the scene is cut off. Next scene involves an ogre king fighting the strong-male king. The ogre then tries to grab one of the females. The bambangan (Arjuna?) comes in and fights with the ogre, shoots him in the mouth, although apparently not by surprise as in Arjuna Wiwaha). Before conclusion, the selection cuts off abruptly

SA-677 (55 minutes) LANGEN MONDRO WANORO: Pentas Uji Coba Dalam Rangka Revitalisasi Kesenian Daerah (Experimental Performance as part of the Revitalisation of Regional Arts). 27 March 198[4?]

Opens with a large group of gamelan musicians and singer. A female character (played by a female) sits cross-legged (sila), with Subali or Sugriwa behind her, stage left. Monkey is on stage right. Long narration (kandha) mentioning the Kiskanda cave. Female singers sing sneggakan between some of the lines of the female singing macapat in a gendhing (NOT a rambangan/palaran). Sugriwa and Subali meet and fight. Hanoman, Rama, Laksmana, and other monkeys enter to meet Sugriwa. A long scene with Arjuna, Laksmana, monkeys and two monkey kings. Subali is dying it seems), being held by Sugriwa and a female. There is lots of rambangan. The final exit involves all dancers doing a walk (tayungan) in kneeling (jènkgèng) position to a ladrang with female singing. The only exception is the female character, who walks in crouch position (laku dhodhok). As they reach the other side of the stage, they sit cross-legged (sila) for applause during the final lagon.

SA-678 (73 minutes) WAYANG BEBER: "Pergelaran Wayang Beber"

Gelaran Karangmojo Wonosari - Karangtalun Donorojo Pacitan. At Taman Budaya, Yogyakarta, sponsored by the Proyek Pengembangan Kesenian DIY (Department of Education and Culture). Opens with man's voice explaining wayang bèbèr, camera shots of instruments, and so forth; gambang playing Ilir-ilir. Then no music, as man stands at microphone and announces. The performance is opened by an official striking the kenong.

  1. (Pacitan):(Then musicians enter, wearing Solonese blangkon, black jackets. Incense is burning as the box holding the scrolls is opened. The instruments used are rebab, kenong, kethuk, kempul, and drum. The drumming is simple. The dhalang's voice sings and narrates. Difficult to hear words clearly.
  2. Close-ups of scrolls rolled out on the wall, a camera pan-shot of Jaka Tarub (from Karangmojo, Gunung Kidul), with note that "jalan cerita tidak jelas" (the storyline is not clear). Accompanied by a pathetan with rebab and so forth, a reporter explains that wayang bèbèr can be used for ruwatan. The dhalang from Karangmojo, Marta Sukandiya (the same as on the TVRI video SA-1467) is to do a different story.
  3. Another set of close-ups of the scrolls for "Joko Kembang Kuning" from Pacitan, with adegan (scenes) 1-4 on one scroll, scenes 5-8 on the second, etc. up to ca. 24 scenes. The reporter provides a lengthy explanation for each of the scenes as the camera pans across each. IV. (Karangmojo): More complete instrumentation than for Pacitan: gendèr, saron, gambang, kenong, kethuk, kempul, gong, kendhang, and 1 pesindhèn. Incense again is burning as the scrolls are removed. The dhalang begins with "Wau ta" and uses a pointer (as he did in the TVRI video). Camera shows two assistants rolling the scroll from one scene to the next as necessary. This is a Panji story, but details difficult to discern.
  4.  

SA-683 (2 cassettes: 212 minutes) LUDRUK: "Besutan"
Performers: "Kawan Kesenian Surabaya" ...RYA TEATER 25-26 Jan 1986

Begins with a long section of kidungan singing by one male--good quality East Javanese singing. Then a long play with NO music and a contemporary theme fills the rest of first cassette. Second cassette has kidung sung by an older man, not quite in tune with the gamelan. He also dances ngr‚mo and then performs a comedy routine (dhagelan) with two others. The music is mostly Lancaran Surabayan throughout, with some humorous interludes, mostly with singing. It ends with women in yellow kebayaks singing in barang miring against instrumental sléndro gamelan, just moving a bit. Then two female ngremo dancers (beskalan?) to Lancaran Surabayan.

SA-689 (131 minutes) DOKUMENTASI VIDEO TARIAN JAWA TIMUR

  1. BINA TARI JAWA TIMUR:

    ""Topeng Gunungsari." Set is fairlly complex, with green-lit left and right, red-lit center, white Greek columns and pedestals, blue-sky background. One dancer, traditional dance sequence associated with Malang topeng tradition. Accompaniment is pélog gamelan, with Galo Ireng section.

  2. "Menak Jingga - Damar Wulan."

    Both dancers perform in strong male (gagah) style to Lancaran Surabayan, followed by a ladrang, then the East Javanese piece Krucilan. Not at all like the Mangkunegaran langendriyan-based dance of same title.

  3. "Aneka Tari Anak-anak" Bina Tari Jawa Timur PusBindikni Surabaya choreographer: Tri Broto
    1. "Dolanan Thag Thig" Girls in simple short yellow outfits, with red scarves, simple, sparse gamelan accompaniment. They gather in a circle and sing, then dance off to gamelan accompaniment
    2. "Tari Pamaju" Girls in blue pants dance in ngr‚mo style, with colored fans. Shot outside on a stage with a stone kayon background. Accompaniment resembles gandrung Banyuwangi, with what sounds like violins (or rebab imitation thereof). Musical piece ends (suwuk), rather than being faded out.
    3. "Tari Klono Sabrang" Four boys dance with East Javanese headdresses, but no mask. Otherwise reminiscent of topeng style.
    4. "Tari Bondoboyo" Two boys dance to Krucilan gamelan accompaniment, with vey fast imbal kinthilan. Music ends (suwuk) for exit.
    5. "Tari Dolanan" Girls in blue pants and sleeveless tops, sing to the gamelan accompaniment, then gambang. This is a medley of dolanan (children's games with songs) and fades rapidly.
  4. Same scene as fist items
    1. A dance drama (untitled). Accompanied by a piece with vocal and kemanak in style similar to Solonese bedhaya, but costumes of dancers mostly East Javanese.
    2. Bina Tari Jawa Timur: this and the next six items are the same as the previous items (I, II, III)
  5. Bina Tari Jatim: "Metamorphosa" choreographer: Tri Broto

    Begins with suling. Dancers in yellow outfits and red scarves perform on a gaudy set: large double naga, as if on a gong stand, at top of background. Stage in shape of a capital B, with shimmering lights around the edge. Dancers speak, two in alternation, accompanied mostly by suling and kethuk with drum. Even when whole gamelan playing, the kethuk is unusually loud. The dance looks at times like gandrung Banyuwangi, at least in the postures taken. And violin solo is played as an additional six older girls enter. Camera makes lots of close-ups of hands, faces. It stops abruptly in the middle and shifts to five girls outside at night, dancing to a loud-style (gagahan) piece (.62. 262. 2623 5623 etc.) Dancers in red with pluermia blossoms in their left ears. Background is real trees, lit by spotlights. Dancing is performed on the ground. A male dancer enters to a repetitive 8-beat tune (6365 6362). Another male enters and they engage in fight, in pencak style. Male in blue enters to Lancaran Surabayan (sl‚ndro sanga, i.e., gong tones 6 and 2). Also one male dancer in a white pith helmet, looking like a Dutch colonial, enters to a military march kind of gamelan piece, followed by a man in yellow doing martial arts (pencak) to Lancaran Surabayan sl‚ndro wolu (gong tones 5 and 1). As the gamelan piece makes transition, the camera goes to a close-up of a tree, panning upwards. This is followed by a couple dancing in tayuban/social dance style to the gendhig Krucilan. Then four village teenage girls, each with a towel on her head, enter to instrumental gamelan music. They dance with gandrung Banyuwangi elements in their movements. A male in black enters, and makes second entrance from behind the camera. Very difficult to discern a plot (if there was one intended at all), but the dance drama appears to incorporate movements from different genres/traditions within East Java.

SA-709 (106 minutes) SUKOSRONO - SUMANTRI
performers: Jaya Budaya choreographer: Sal Murgiyanto Ben Suharto as Sumantri; Sal Murgiyanto as Sukosrono (= Sukrosono)

An extremely poor quality video, from technical standpoint. Sound is very soft and image very blurry. But dance and music quality is excellent. Makes use of great variety of central Javanese music styles: palaran, bedhayan, gendhing kemanak, langen mandra wanaran singing and dancing (on knees), some new pieces (kreasi) including unusual Sampak pieces. Enacts the story of Sumantri, who winds up killing his deformed brother, Sukrosono. Most dancers in outstanding but not unusual costumes, but some of the giants wear remarkable headgear and exaggerated gimbal (long unkempt hair).

SA-1063 (129 minutes)

  1. WAYANG KULIT: "Kresna Duta" dhalang: Ki Manteb Soedarsono

    Poor quality video, lots of hiss on the soundtrack. Opens with a bedhayan piece, then a lancaran, and a palaran. Kresna and Setyaki, carriage and kayon. Narada comes to talk with Kresna. The music goes from one piece to the next, more in the style of sendratari than wayang kulit. Durna speaks over a pathetan (no vocal, only rebab, etc.) Most of the camerawork shows close-ups of the wayang puppets from the dhalang's side. This is a famous story, Kresna acting as an envoy to give the warring parties a last chance to avoid the imminent great war (Bharatayuda). At the end, the kayon is planted and the music ends (full suwuk); no fade out. TVRI Yogyakarta; no date given for production.

  2. WAYANG ORANG: "Widoretno Larung" Group: Persatuan Masyarakat Surakarta Leader: Ibu Willy Santosa

    Gathotkaca and a female, named Widoretno, enter and speak. Gathotkaca has been sent by Arjuna to get someone to look for the kirs sheath Kayu Cendana. Widoretno, as it turns out, is the sheath, Cendana, herself. Gathotkaca gives her a pusaka kris, and she kills herself. Action then freezes, titles appear and talu is played (Ayak-ayakan - Srepegan - Sampak). Then dhalang sings a suluk and the action begins again. Gathotkaca sings a celuk (introduction) and palaran as he holds the dead Widoretno. A sparse set, with a few columns and steps and a wall with a diamond design on it. The dhalang sings suluk as singers sing the celuk for Ketawang Subakastawa. Abimanyu appears, then Cakil. Cakil is driven off, not killed (to Srepegan and Sampak sl‚ndro sanga). Then usual ogres appear, and finally punakawan. They sing "Mbok ya Mesem." In the next scene, with Ayak-ayakan, a begawan with his daughter Kumarawati, who tells of her dream taht she met a handsome guy (Abimanyu). Abimanyu asks about the magic flower Sumarsana Wilis, and leaves. Abimanyu and Bambang Tejakumala come across the fallen female. Abimanyu holds her in his arms and sings a sad palaran. She awakens and says she will be Abimanyu's wife. Bambang Tejakumala wants to become king and fights with a refined king figure (Narendra ...?). The punakawan are ready to serve her, but Abimanyu winds up with the crown on his head as Wijayakusuma and claims he will take over Dwarawati. Arjuna comes and fights with Wijayakusuma. Then the refined king (Narendra...) enters and fights with Bima. Kresna enters, about to fight, but bows to him. The king Narendra... takes his leave to go back to heaven.

SA-1069 (96 minutes)

  1. WAYANG GOLEK: "Kalabirawa Lena" (Menak Story, Central Javanese) Dhalang: Ki Sunarto Skar (STSI Surakarta) Musical director: B. Subono Script/naskah: Bambang Suwarno

    One golek puppet appears, then the rampogan (army) puppet. Two puppets fight, one male singer conducts the others in a group sulukan. Rich and varied music throughout: lancaran, ladrang, playon/srepegan, bedhayan singing, and special playons. The camerawork mostly shows close-ups of puppets, some shots of the dhalang. Early on there are lots of shots of the musicians as well. A piece in East Javanese wayang style (with 4 kempul strokes per kenong). Jayengrana kills Kalabirawa at the end, and the music comes to full stop (suwuk) as the kayon is planted in the middle; no fade out.

  2. WAYANG KULIT: "Kunthi Dhuto" Dhalang: Nyi Harni Sabdowati (Gondang, Sragen) Musical accompaniment: Sabdo laras (Sragen) Opens with talu mostly in Banyumas style (Ayak-ayakan Banyumas - Srepegan Banyumas - Sampak Solo). Full gamelan in foreground, including bass drum and cymbals. First scene has the solo passages from Ladrang Westminster (imitating the clock chimes) and then gangsaran 2. A male voice announces the story background, in Indonesian, about the Pandhawa brothers living away in the forest for thirteen years. Dewi Kunthi is their envoy to Duryadana (the Kurawas). Music is Ladrang Eling-eling, sl‚ndro nem. Dhalang's voice is in male range, characters speak during the instrumental sulukan sl‚ndro nem wantah. A palaran is used for a scene change, as Bima appears, then Kunthi and Karna. Another palaran for a battle between Bima and several Kurawa. Ayak'ayakan sl‚ndro nem for the kayon movement, with an odd coda (suwuk): 636. 636. 6i65 .1.6 (like Yogyanese style). Pathet sanga section begins with Ketawang Subakastawa in a modified version (but not Nartosabdho's "rinengga" version). The punakawan enter. A refined bambangan figure fights with a skinny, refined black-bodied puppet (not Kresna?). Narada appears in the sky. Pathet manyura section begins with Ladrang Sumirat, then a monotone Sampak (6666 6662) for Bima's very brief fight. Another Sampak (6666 5555 3333 2222) for very ending, as Arjuna embraces Kresna, in his normal full outfit. Suwuk is high 1 repeated over and over, with a final 33. Full suwuk and tanceb kayon (no fade out).

SA-1070 (93 minutes)

  1. WAYANG KULIT: "Bungkus" Dhalang: Nyi Suharni Sabdhowati (Gondang, Sragen)

    Military march music for portion before wayang begins. A bass drum and cymbal are visible. Opening shot is from far away, with all musicians and the screen visible. The gambang is loudly miked for the quite (rep) section (and shown close-up once). Opening scene has various Kurawa meeting. The gamelan piece ends fast (suwuk gropak). A man reads an opening narration (janturan) as the female puppeteer just moves the puppets, but then takes over and does all speaking and narrating parts. There are lots of camera shots from the shadow side of the screen. A large reddish blob of a puppet represents the bungkus ("package"-- something like an embryo. This is the object of a battle and stabbing by the Kurawa. Arjuna and the punakawan enter to a soft (rep) gamelan piece. Cakil eneters with Srepegan in pélog, then a brief visual cue sinals a fast Kemudha, but soon soft with choral singing. The ogre companions (buta b‚gal) enter to Sampak sléndro sanga. In the next scene, pathet manyura, Ladrang Sumirat in loud style accompanies the bungkus and a large god figures (Bayu). A black Brataséna bursts out of the bungkus and fights with a large elephant.

  2. WAYANG ORANG: "Wiratha Parwa" Performers: Ngesti Pandowo (Semarang) Dhalang: Maharsi Musical Arranger: Sutanto

    Scenery is painted background, sparse, with three colored spotlights. Opens with a fight to Sampak sléndro manyura: Bima in disguise (?) with branches. Scene of female characters with a soft ladrang going to Ayak-ayakan sl‚ndro nem. Then pathetan sléndro nem jugag. Kakrasana (?) comes out, then Kunthi and all the wives of the Pandhawas. Srepegan sl‚ndro sanga for Kakrasana's exit. Semar and other punakawan dance to Lagu "Warung Pojok." They discuss the situation, that only three days remain for the Pandhawa brothers to live in disguise. Next piece is "Mbok ya Mèsem." Petruk sings a slow kidung (East Javanese style). Then soldiers in green make their entrance, each carrying an umbrella (payung), with two others in red. They wind up representing horses and carriage. Kakrasana and a refined figure find the Pandhawa's clothes hidden in a package. The refined figure shoots Arjuna's arrows and they hit the soldiers of Karna, with Durna. Puntadewa tells Prabu Matswapati that Raden Udawa is not the one to block the Kurawas, but someone else. Matswapati hits the young refined character, who tells him and draws blood. Bima (in disguise as Bilawa) appears. Puntadewa warns Bima not to give away his disguise by impulsively going into battle. Once the identities are revealed, the performance ends abruptly.

(A short portion of a TVRI broadcast of a Mike Tyson fight follows.)

SA-1071 (96 minutes)

  1. WAYANG KULIT: "Hambrastho Tumper Ingas" . Dhalang: Ki Mujoko Joko Raharjo (Ceper, Klatèn)

    Opens with tembang by solo pesindhŠn. Arjuna with a female character to a sudden Sampak (not standard melody); Bima fights. Then Kresna, Puntadewa, Bima, and Gathotkaca together. An unusual lancaran in pélog lima for exit (budhalan), a lagu dolanan in modern style (kreasi). Some camera shots of musicians, some of whom are reading notation. Kartamarma and other Kurawa appear. A palaran in pélog lima is sung for the battle between Gathotkaca and Kartamarma. In this performance, there are some camera shots of battles from the shadow side of the screen. Other television broadcasts have only shown puppets, puppeteer, musicians from the puppeteer's side. The punakawan appear to a fast lagu dolanan in pélog bem (gong tones 6 and 2, with 5 and 3 also prominent), a lancaran dolanan "Siskamling." A pesindhèn sings pathetan sléndro sanga. This performance ends with the music ending (suwuk), not a fade out.

  2. WAYANG ORANG: "Jalathunda" (very poor soundtrack) Performers: Kusuma Wiraga, Yogyakarta; leader: Seno BK

    Setyaki and a refined character meet and fight with Duryadana, Baladewa, and Sengkuni. The scenery is painted rocks, leafless tree branches, light background.

    Second scene, Baladewa and the others come to a meditating giant, whom they address as Kresna. All of them try to awaken him, but are unable. The scene changes with a blur out.

    Third scene, a bambangan character (here played by a male, although this wayang orang is basically Solonese style) and four punakawan appear. A giant enters behind them and they leave, one by one, as each sees the giant. The giant fights with the bambangan figure and is stabbed, then a refined character played by a female enters (Kamajaya?). Arjuna and the punakawan come to the giant form of Kresna. Arjuna draws his kris, but the punakawan stop him. Another double exposure superimposes Arjuna and some females.

    In the next scene, Narada appears with a refined figure with a white headdress. Narada explains what will happen in the great war (Bharatayuda), addressing him as "nggèr" (as if speaking to a child). They are joined by a female in white headdress. The sound mix is unconventional. The gamelan is loud, especially the gendèr, more so than the vocalists; and the actors are not closely miked, and thus there is much echo. The giant form of Kresna and Arjuna are shown double exposed with the male and female characters in white headdresses (Kresna with the male, Arjuna with the female). Then Kresna wakes up and changes to assume his normal form. Baladewa and Duryadana fight against Bima and Arjuna, but then Baladewa asks forgiveness from Kresna. Baladewa exits and the music fades.

SA-1089 (73 minutes)

  1. WAYANG KANCIL: "Kancil Kridho Martoyo." Dhalang: Gathot Tetuko (Karangpandan); musical accompaniment: Putra Kelana Jaya

    All players and the dhalang are children. Two unusual kayon are used, and only sl‚ndro gamelan. Animals include a bull, an enormous alligator. The musicians are mostly good, especially the drummer, who gives reps (soft signals), sesegs (sudden accelerandi) and appropriate accents for the puppet action. Music is mostly lancarans and lancaran mlaku (e.g., Sembunggilang), along with one Sampak (6666 5555 3333 2222). Some humans come to cut down the forest, a fight ensues and the performance ends with full suwuk and planting of the kayon.

  2. WAYANG ORANG:"Peduhit Bharatayuda." Performers: Sanggar Arumsari (Yogyakarta); leader: Dra. Sri Rumsari Listyorini; dhalang: Wiwied; musical Arranger: Drs. Gandhung Jatmiko.

    Begins with Balinese-style gamelan instrumental playing, camera shows kayons with shots of players superimposed, and gives the name and characer (role) played by each (Karna, Surtikanti, Salya, Kunthi, Arjuna, Puntadewa, Cangik, Limbuk). Four soldiers in unusual costumes, accompanied by vocals with ostinato, quasi-Balinese. A person in back is moving two kayons and narrates in Javanese (possibly the dhalang, although this is highly unusual for wayang orang). Two characters (Salya and Karna) are superimposed on two kayons and speak to one another. No painted scenery is used, very sparse stage. Salya is asked to pick sides in the Bharatayuda, but he says he is neither Pandhawa or Kurawa. Balinese musical introduction to a fast lancaran for Limbuk to do a jaipong-type entry (or lènggèr?). A male Cangik enters and talks a lot. Arjuna appears to a gendhing with three-beat phrases and speaks with Puntadewa. Musical accompaniment includes much vocal with gendèr accompaniment. Karna and Puntadewa battle, and stab each other, accompanied by singing with a steady kempul beat. This scene fades and blurs to a scene with a female character (Kunthi) crying and Puntadewa. The music fades and the scene cuts off before the ending.

SA-1090 (101 minutes)

  1. WAYANG GOLEK: "Menak Sulup." Dhalang: Ki Sukarno (Kulon Progo); female soloist: Nyi Winarti Purwoto.

    Central Javanese style. Opening with a gendhing in sléndro sanga and close-up of the kayo. The puppeteer removes it and the first chcaracters appear: a clown-like character and two refined males who dance in gagah-type style, with arms up. There are several sléndro nem pieces, with slow action. The camera takes from the audience side, looking at the puppeteer, with lots of close-ups of the puppets. The main male character is a strong male addressed as Panembahan. Mention is made of the ruler of Egypt (Ratu Mesir). This is more standard in the music and the puppetry than the other Central Javanese wayang golek video (SA-1069) with Ki Sunarto as dhalang and music arranged by Subono. Here a female gendèr player performs (ca. 14 minutes into the tape). Music includes a piece like Playon Lasem, going to a Sampak for the battle. Two female puppet characters talk, one sings a celuk (introduction) to Ketawang Subakastawa. A refine male puppet appears, then a female servant. Another ketawang, this one in sléndro manyura, also begins with celuk. A rough, kelana character apperas, and faces a stern looking character with beard and kulup hat. The puppeteer sings pathetan sl‚ndro manyura ("MŠh rahina..."). The kelana character meets with a refined hero (Jayengrana?) and they fight. Before the end, the music fades rapidly and the visual track cuts off abruptly, before the performance has ended.

  2. WAYANG KULIT: "Bisma Gugur" . Dhalang: Ki Soegito Poerbo Tjarito (Banyumas); musical Accompaniment: Ngesthi Kencana

    There is silence in the beginning, then Sampak manyura Banyumasan. The kayon and puppets move, the music changes to a ladrang in bedhayan style, then quiet (rep). In the kingdom of Ngastina, Duryadana and various younger brothers, Bisma, Durna, Sengkuni, and Karna are meeting. Piece ends on low 3, followed by a sulukan. Some camera shots of the dhalang, as the musicians play Playon Lasem Banyumasan. At about 1:13-1:15 minutes into the tape, there is a shot of very fast saron imbal. Palaran is used for characters fighting the rampogan (army puppet). Bisma and Kresna have a long conversation. Puntadewa meets with Matswapati to a ladrang in bedhayan style, with kosekan drumming. Also present are the other Pandhawas, Kresna, and Srikandhi, who leaves first. Srepegan sléndro manyura Banyumasan precedes Arjuna and Kresna talking briefly, then a palaran for the meeting of Bisma and Srikandhi. Camerawork superimposes a pesindhŠn singing the palaran, with the character Bisma, who is also speaking. An arrow appears out of nowhere and kills Bisma, as the Sampak (6666 5555 3333 2222) is played. This is followed by a soft ladrang with barang miring bedhayan style singing. The Pandhawa brothers arrive to soft music. Near the end, the musicians go into Eling-eling Banyumasan, just briefly, and end fast (suwuk gropak), as the kayon is planted (tanceb) and the performance ends (not cut off).

SA-1095 (102 minutes)

  1. WAYANG KULIT: "Gondomono Tundhung" Dhalang: Ki Purbo Asmoro, SKar Female singer: Nyi Wara Supadmi Performers: Studio Jurusan Pedhalangan STSI Surakarta

    Opens with usual talu (Ayak-ayakan - Srepegan - Sampak, suwuk) Shots of the screen in the distance, with the gamealn musicians facing it (away from the camera). Then a solo pesindhŠn sings as the dhalang moves the two kayon to reveal a 3rd one depicting a flame. A character looking like Rama (?) is superimposed with this kayon, and also a female (looking like Srikandhi).

    The first main scene involves Patih Gandamana and this king (who looks like Rama). Performance includes jaranan (horse) and rampogan (army battle) scenes. A goldfaced character resembles Gathotkaca.

    A second scene opens with giant ogres, accompanied by a ladrang with separate male chorus and female soloist, then singing together in modern (kreasi) style, with fast ending (suwuk gropak) and an ada-ada in sl‚ndro nem. Two rampogan puppets clash to Sampak on pitch 6 (6666 6662). Then Srepegan and Sampak sléndro nem are used for Gandamana to appear. With Sampak sléndro sanga, Gandamana is embraced by a large ogre king, as the gamelan switches suddenly to Ayak-ayakan sléndro sanga. The ogre asks Gandamana about Pringgondani, and the puppeteer then sings ada-ada pélog barang and the characters depart to Srepegan pélog barang. The king resembling Rama appears. Gandaman meets and embraces a small refined character, and the puppeteer sings ada-ada in sléndro manyura. This is followed by Sampak Galong, Yogyakarta style, and a palaran for the fight between Gandamana and a different haughty refined character. The original female character (Srikandhi?) meets with Sengkuni, who is sad. Gandamana then meets with the refined king (resembling Rama) and the tape suddenly cuts off.

  2. WAYANG ORANG: "Pandawa Dhadhu" Performers: Ngesti Pandowo (Semarang) Musical arranger: Sutanto Leader: Mashoeri Dhalang: Maharsi

    Opening credits are shown to the accompaniment of Sampak sl‚ndro manyura and stop action of a rough (gagah) character fighting with a plump female character--pulling her bathik skirt part way off. First scene is large kayon as backdrop. Three women dancing refined male characters, one with arrows in quiver. Puntadewa appears, Ayak-ayakan sléndro nem, then Bima and Durna. Sengkuni arrives with a message from Ngastina inviting the Pandhawas to come.

    Second scene--refined male character (Irawan?) in red, with arrows. Background is painted rocks and trees. Punakawan enter and depart to Ketawang Subakastawa. Cakil appears, throwing flower petals, dirt, etc. He fights with the refined figure. Then Gareng and Bagong come in, dancing to a dolanan. They then speak with Cakil and Petruk joins them. Srepegan and Sampak sléndro sanga as Cakil calls in his ogre friends.

    Next scene is in Ngastina. Duryadana, Puntadewa, Sengkuni, and four females who do a group dance to a ladrang bedhayan in sl‚ndro sanga. For their exit, a loud Yogyanese ladrang, followed by pathetan sléndro sanga. Puntadewa and Duryadana play dice, with Sengkuni officiating. The other Pandhawa come in, as Puntadewa is losing. The other Kurawa come in, one of whom rolls one of the Pandhawa wives on the floor and leads her off by the hair (Drupadi, wagered and lost by Puntadewa?). Scene fades, blurs into next scene.

    The Kurawa and the female he has dragged off, fighting. He pulls off her clothes, but her kain keeps getting longer and longer (cf. scene in opening credits). The Pandhawas rush in to rescue her. Then someone, apparently a god, appears and tells Duryadana to return all the things he and the Kurawa have taken in the dice game. All the Kurawa laugh as the Pandhawas go off. Image and music cut off suddenly, before musical piece has ended. TVRI logo appears.

SA-1247 (2 cassettes: I = 165 minutes; II = 18 minutes)

  1. WAYANG GOLEK SUNDA: "Wahyu Cakraningrat"

    Filmed at a live, outdoor performance at night. The lighting is dark blue, and the video quality is poor. There are several neon lights. The camera is on the audience side, with the gamelan not shown, except for an occasional shot of the pesindhèn. The dalang and the pesindhèn are heard loudly and clearly, due to proximity to microphones. Also prominent through amplification are gambang and rebab. There are some shots of the crowd, which is mostly male. Many long scenes without any change of characters, but much dialogue. A number of the figures are clowns (or clown-like). One of these addresses the hosts of the event and mentions an anniversary (hari ulang tahun). There is a long camera-shot of the pesindhèn at the end of the first tape.

  2. Tape II is short and cuts off before the end of the performance.

SA-1266 (94 minutes)

"CIPTA KARYA IKJ" at Taman Ismael Marzuki, Teater Tertutup, 16-17 May 1986

  1. "Ekalaya Palastra"; choreographer: Laksmi Simanjuntak

    Begins with lagon (pathetan) sung by a group, sléndro pathet sanga, slow entrance, Yogyakarta style. This is a bedhaya dance, Mahabharata story, with Yogyanese style narration (kandha) but some Solonese style gamelan playing (bedhayan vocal). But, uncharacteristic of bedhaya, the performance proceees to palaran singing accompanied by ciblon drum. A lagon, more palaran follow, then silence, followed by a gamelan piece in ketawang form and another palaran. Dancers exit by backing up, to the accompaniment of solo rebab. At the end Bu Bei Mardusari is honored.

  2. "Nazih"; choreographer: Suhaimi bin Magi

    Begins with New Age music with echo effect and vocal part in regular rhythm. Male dancers appear in a globular pile, under a sheet of plastic. Some break out and perform acrobatics to a solo flute, sounding like a saluang (Minangkabau). Most of the dancing employs modern dance movements, percussion, and different flute sounds. In clowning scene, dancers march to military brass, drum and fife music (diatonic). Followed by silence and a blackout. This followed by electronic drone and vocal music as eight dancers are sprawled out on the floor, two in single-color short-sleeved and short-legged garments (like togas) walk in--moving in eerie, Western modern dance movements. Others appear, with similar clothing and movements. There is a long section with silence (no musical accompaniment). Ends with males coming in and seemingly "sweeping" the others off stage.

  3. "Sodoran"; choreographer: Bambang Ginting AS

    Begins with torches all over the theater. First music is a Javanese dolanan (in the style of Nartosabdho), with jathilan/trance dance type of accompaniment. A long-haired male holds 6 or 7 incences sticks as the music adds a double reed (sronen). On left, male calls out in Javanese and is answered by a chorus of male dancers. Then a female sings the macapat "Aja turu sor‚ kaki" in barang miring (Asmarandana Kagok Ketanon?) as a dancer ascends a ladder to high scaffolding. Another strong male dancer enters with a whip, the music changes to Lancaran Surabayan (East Javanese) and a chorus of soldiers, mostly female, do an ensemble ngremo dance, and exit one by one. Then with only one male and one female left, to the accompaniment of a solo macapat. The female dancer removes her jacket, other male soldiers enter with poles and challenge the male, to double-reed (sronen) music. It ends with three males hanging upside down from the scaffold.

SA-1313 (2 cassettes: 183 minutes)

  1. TARI TRADISIONAL SULSEL (Sulawesi Selatan) ."..dalam rangka pelepasan tim kesenian SulSel ke Hong Kong & Saudi Arabia 5/6[?]-10-198[8?]" (as part of the formal departure of the arts team from South Sulawesi to Hong Kong and Saudi Arabia 5 or 6 October, 1988)
    1. Two drummers (ganrang) and double reed (puik-puik, played by the famous musician Daeng Serang Dakko), loud and fast. Three women in yellow baju bodo (short-sleeved blouses) and three in red baju bodo, white skirts, and large fans. Two gongs and two bamboo slit drums (kattok-kattok) join. Part of the dance is in sitting position, but it ends with circling, then exit.
    2. Orkes turiolo (music ensemble)--excerpts of several songs. Three singers sing in harmony, accompanied by violin, gong, kannong-kannong (two-kettle gong set), 2 rebana (frame drums), clarinet. The second song is the famous "Ati Raja."
    3. A hopping dance, three men in orange pants and no tops hop in and then perform some martial arts (pancak) movements. The musical accompaniment includes drums, puik-puik, kattok-kattok, and gong. The dancers draw their weapons, small daggers (badik) and, one by one, shout in Makassarese (addressing the king "karaeng")
    4. Boys perform a ganrang bulo (literally "bamboo drum") dance, playiing little bamboo castanets. This is accompanied by kacapi, drums, kattok-kattok, and gong.
    5. Paraga (athletic display): four men with takraw (rattan) ball demonstrate their skills at handling the ball without touching it with their hands.
    6. Musical selection: 6 drums, puik-puik, and gong (Daeng Serang on drum). They perform elements of the accompaniment used for pakarena (Makassarese group female dance): going from tunrung tallu to pakanjarak, to tumbuk rua (different rhythmic patterns).
  2. Performance by Yayasan Anging Mamiri' (YAMA) [almost certainly this is the group, although it is not explicitly identified anywhere on the tape]. Individual items, however, are each identified by title.

    1. Symphoni Kecapi: seven kecapi, one drum, one lea-lea (fringed bamboo idiophone), kancing (cymbals), kannong-kannong, four suling, and gong. Male and female players.
    2. Tari Pattudu (Mandar): single female dancer in green, with small plaid fan, accompanied by drum.
    3. Tari Batangrappe (Mandar): four female dnacers, drum, vocal, suling, with fans.
    4. Tari Maluya (Mamasa): two or three drums accompany one female dancer in elaborate headdress. Possibly other percussion (not shown).
    5. Tari Pagellu (Toraja): two men play drum, two female dancers, one of whom mounts the drums.
    6. Tari Rampanan Awo (Toraja): bamboo percussion and drums, same rhythm as Torajan pagellu. Four girl dancers with small bamboo slit gongs and beaters, flute and vocals for one section.
    7. Tari To'mepare (Toraja): men hopping, women swaying in style similar to pagellu, diatonic vocals sung by the dancers, with suling and the standard Torajan drums rhythm.
    8. Tari Semba (Toraja): four guys in yellow hop to the sound of Torajan-style yelps/shouts. They snap cloth that they hold in both hands, by pulling it taught (cf. the pandanus instrument of lowland Sulsel). Percussion plays standard Torajan rhythm, then suling and vocal (2 tones).
    9. Tari pakkuru Sumange (Makassar): 6 female dancers in green baju bodo, accompanied by suling, drums, and baccing (metal plates). Part of the accompaniment is "Ati Raja." Dancers hold glass, or dish and seem to flick something from them, though there are no flowers or water actually.
    10. (No label) begins with pakanjarak played by two drums, puik-puik, and gong. Two female dancers seem to perform pakarena, but not the one choreographed by Bu Nurhani Sapada.

SA-1313, cassette 2: Tari Tradisional Sulsel

  1. Tari Pakarena Selayar: Four women in red baju bodo dance with peasant hats, accompanied by suling, lots of small bamboo percussion instruments, gong, but sparse drumming. Same black cloth backdrop as in previous tape, typical of YAMA setting. This is a short dance, more folkish than the Makassarese pakarena.
  2. Tari Saraung Bugis: Three women with lalosu (bamboo and rattan rattles), tall hats and pants. Musical accompaniment by drum, gong, hand cymbal, and lea-lea.
  3. Tari Sutra Bugis: Two kecapi, with drum, xylophone (tenong), and suling added later. Five women dance in yellow baju bodo. After first section, each dancer uses a silk cloth and manipulates it, with music provided by kannong-kannong, bamboo percussion, double-reed and drum.
  4. Tari Anging Mammirik (Makassar): Music provided by drum, suling, gong, and kecapi. Three women dance to this famous Makassarese tune, each with two fans.
  5. Tari Pajaga (Bugis): Cymbals, suling, gong, and vocalist provide music for entrance. A row of three women, each with a fan, slow and graceful. The musical accompaniment switches to gong, drum, and lea-lea (fringed bamboo).
  6. Tari ATA (Bugis): Six women in black baju bodo carry around ceremonial objects on sticks. Musical accompaniment involves gong, drums, and baccing (metal plaques) for first section, and drums, gong, suling, and kannong-kannong for second.
  7. Tari Kanana (Bugis): Four girls perform rapid twirling and hand movements to accompaniment of drums, kannong-kannong, gong, and a battery of rebanas.
  8. Tari Patala (Bugis): A slow, stately entrance by eight female dancers, each with a dish (bosara) in left hand, accompanied by sparse percussion (single kettle gong and drum). This has a ritual feel. Later, suling and vocals are added; one gong is hit while lying flat on the ground.
  9. Dasar Tari Sul~Sel: A class of twelve girls in practice outfits dance to taped music (drums, gong, kecapi, bamboo percussion, and, later, suling).

SA-1314 (87 minutes)

TARIAN SULAWESI SELATAN Introduced as if part of a larger Indonesian festival (apparently taking place in Bali)

  1. The musicians appear to be members of the Yayasan Anging Mammiri' (YAMA) troupe. Makassarese drums, kecapi, and so forth. An announcer introduces different regional costume, modelled by members of the troupe:
    1. "putri Bugis" (in red, baju bodo and kain)
    2. "bangsawan Bugis" (green and gold/yellow)
    3. "Kajang/Bulukumba" (black or indigo outfits)
    4. "Luwuk" (purple with light dots)
    5. "Makassar"
    6. "Gowa, bangsawan" (purple)
    7. "Mandar"
    8. "Mandra, bangsawan"
    9. "Toraja"
    10. "Toraja"
    11. "Mamasa"
    At the end, musicians play pakanjarak pattern and models dance with ceremonial dishes (bosara), accompanied by Makassarese song "Ati Raja." They serve Bugis sweets to members of the audience. The announcer explains the meaning of the dance.
  2. Mapasiori Waju: The same dancer-models enter again, still in all the variety of costumes. They are followed by a large procession with children and men in various finery. This is to represent a rite of passage/ in Bugis/Makassarese society for a young girl, who will don successive layers of traditional clothing. A female shaman/dukun snaps pandanus leaves near the girl. This dukun also claps hand cymbals on either side of the girl for whom the ritual is being performed. A government official from Bali is aksed to help the girl put on a second baju bodo (yellow). Then various others come up to puyt other baju bodos on her (purple, green, bllue, etc.) The announcer says "tunrung pakanjarak" and the girl is taken and carried around outside to this famous loud and fast drumming pattern. Some foreign tourists outside take part in carrying her.
  3. Acara Akngaru: The swearing of oaths of allegiance in Makassarese language.
  4. Akarena Siru (Sikruk): A dance by five women in blue baju bodo and red skirts, with only drum accompaniment at first, later with fast puik-puik/double reed added. Part way through the music changes to suling and drums and the dancers use castanets, most likely spoons (= sikruk). Towards the end, the music reverts to the opening style, with Makassarese drums and puik-puik.
  5. (Title?): Three men enter in black, with red scarves in their hands, and plaid sarongs. Two of them drop the scarves and engage in martial arts, while the third officiates. The two draw blades and fight. One loses and falls, then all exit.
  6. Padduindu: Women in Mandar sarongs, with plaid fans, accompanied by flute, drum, and bamboo percussion instruments. Dancers are kneeling at first, then standing, with just drum and gong accompaniment. Each dancer has a scarf and a fan. They exit, then so do all the people involved in the ceremony described under item 2, including the girl with all the baju bodos on.
  7. Rampanan Awo: Torajan drum in the center, but musicians are on the side, using other drums, in usual position. The dancers have sticks in their right hands, and small bamboo slit drums in their left hands. One of them puts these down and mounts the drum, dancing on top of it.
  8. Tennung Sabe: Music consists of kecapi, then drum and bamboo percussion. Four women enter in yellow baju bodo and green skirts. There is a section with percussion only, then suling is added. The instruments then stop and one vocalist is heard. Puik-puik and drum enter as dancers are kneeling, then stand. Each dancer unfurls a separate silk cloth. Afterwards, each gives her cloth to a government official in the audience.
  9. Saraung: Six female dancers with peasant hats, accompanied by soft oboe and bamboo percussion, interspersed with drumming.
  10. Raga (Paraga): Men demonstrate their skill manipulating a rattan ball (takraw) without using their hands. Audience members are invited up on stage to try it themselves. Accompaniemnt is drums and other percussion.
  11. Kecapi Bugis Sinponi: A large group--8 women in purple baju bodo and white skirts, 1 in red and green. They play kecapi, small bamboo slit gongs, flutes, and sing South Sulawesian songs: Anging Mammirik, etc. Video cuts off very shortly after they finish their last song.

SA-1467 (90 minutes)

  1. WAYANG ORANG [?]: "Genderang Lokapala" (in Indonesian language) Sanggar Kusuma Wiraga (Yogya) dhalang & script: Seno BK. Produced by TVRI Yogya and Direktorat Televisi

    Opens with women dancing to Sundanese-influenced gamelan music. Otherwise no dancing and no use of Javanese language (hence, questionable as "wayang orang"). Story is based on Ramayana. Wibisana and Kumbakarna appear in foreground, courtiers and king in background. Characters shout as if in a modern Indonesian drama. There are long stretches with no music at all. Rahwana cuts of the head of a priest/pendeta from Lokapala, but the head still talks before it drifts upward and off camera. Trick photography shows his head separated from his body.

    In second scene, outside the kraton-like building, giants fly off (again using photography techniques familiar from Indonesian movies). An army marches beneath a tall mountain. Here the music involves gamelan plus a field drum, but suddenly fades.

    In third scene, Danaraja (?) and his mother appear, accompanied by pathetan. He is concerned about Rahwana, who apparently wants to join forces with Lokapala and attack heaven. Rahwana meets with a young woman, Sukasalya, in the wilderness and forcibly takes her for his wife. He then visits Danaraja at the latter's court. A battle ensues on the rock and sand surface beneath the cliffs. It ends with a battle in the sky between two male characters, one dies and his spirit leaves.

  2. WAYANG BEBER: Lakon "Ki Remeng Mangunjaya" dhalang: Marta Sukandiya (from Garan, Wonosari, Gunung Kidul)

    Introduction in Javanese by margono Muji Raharjo, who interviews the dhalang about wayang bèbèr. Sukandiya says there are 8 scrolls in all in his village: four Panji stories, two Tarub stories, and two others, one of which is never opened (forbidden). They discuss the contexts of performance, places, accompaniment. Music of this group consists of a small gamelan: kendhang, two saron, gendèr, gong, and one pesindhèn. The dhalang points with a pointer (antenna?) to different parts of the scroll as he narrates the story. Announcement of Muslim prayer time ("Saat Shalat Isya") appears on the screen, but with no break in the coverage of the wayang bèbèr. The musical accompaniment seems to be mostly one piece played in irama levels 1 and 2, with imbal saron in irama 2. Two helpers unroll the scroll as necessary; dhalang only narrates and points.

SA-1468 (115 minutes) TVRI Yogyakarta

  1. DRAMA TRADISIONAL: "Rara Jonggrang" script/naskah: SH Mintardja director: Budi Sunarto

    Opens with real flames and Prambanan temples in background. Central Javanese gamelan accompaniment. Show is like kethoprak, but outdoors at Prambanan. All dialogue is in Indonesian (NOT Javanese). One actor rides on a real horse (eastern saddle) and scales the walls of the ruins.

    Second scene takes place in studio, but with real tree branches and leaves. Use of slow motion for a big battle and other scenes, although with gamelan performing at normal speed. Special effects are used for a god--color negative colors, creating an other-worldly effect.

    Rara Jonggrang disappears in the last scene, as the visual plane is horizontally erased, left to right.

  2. WAYANG ORANG: "Endang Werdiningsih." RRI Studio Surakarta, Taman Budaya Jateng; script/naskah: Sardana MW; dhalang: Krisgiyanto Sabdaleksono; musical director: Sukarno

    Opening credits with short talu (Ayak-ayak - Srepegan - Sampak, sléndro manyura). Three strong male (gagah) soliders of rank appear, followed by Narayana (played by a female) and Kakrasana. Scenery is fairly elaborate: forest, mountains, etc., but not as elaborate as backdrops at good commercial wayang orang theaters. With pieces in sl‚ndro sanga, refined hero (Bambangan, almost certainly Arjuna) in forest, with punakawan. Narayana proposes marriage to Jembawati. The three gagah soldiers meet the four punakawan, who are disguised as women. Bagong has wire-rim shades on, and black shoes and socks. Arjuna has changed into Endang Werdiningsih. Endang starts romantic flirting with Jembawati while the two of them sing palaran to each other. Scene blurs out as they all change back to male form, and pathet changes to manyura. Kakrasana's wife (fiancée?) meets an ogre king in the forest. She tries to stab him, but Kakrasana arrives and kills him. Music is typical wayang orang music: Sampak manyura for fight, etc. Others come out and fight with Narayana and Arjuna. Final scene freezes as they strike a pose doing ulap-ulap as credits roll by: TVRI Nov. 1992

SA-1469 (96 minutes)

KETHOPRAK: Ménakjingga Seri 1 performers: Sapta Mandala. Director: Bagong Kussudiardjo; musical accompaniment: Sutrisno

  1. Opens with Ménak Jingga dancing with a a golden umbrella, then twirling it for the initial credits. Then camera shifts to performance area. The gamelan is near the camera, facing away, towards the stage. Much dance in the opening portion, some interlocking lesung, but with full gamelan and vocals (i.e., NOT kethoprak lesung). The stage is raised, with no real sceney. Flashing lights appear all along the edge of the stage. A female character sings to a triple meter ostinato. Ranggalawé enters and addresses Logendèr, Sindura, Ménak Koncar, etc. He announces the crowning of Kencana Wungu (Ratu Ayu) as queen. She appears and sits on a throne. Ménak Jingga enters, claiming his right to Ratu Ayu as his wife. Actors use palaran singing for response and Ranggalawé's punch at Ménak Jingga. New gamelan pieces (kreasi) and short chunks used to accent the scenes. Ranggalawé's children are being naughty, the mother comes in, followed by an older, fat servant woman and man--lots of joking around. Part I ends with Ménak Jingga receiving advice from a sage in white.
  2. Begins the same way as Part I, with Ménak Jingga dancing and twirling an umbrella, to accompaniment of palaran singing. First scene involes a male servant (Dhayun?) and a young female servant massaging his foot. An older female servant, his wife, enters and expresses angry jealousy. Ratu Ayu holds a meeting of courtiers when a messenger comes with a letter from Ménak Jingga, the contents of which are delivered in palaran style, with Ménak Jingga shown in double exposure. Some camera shots of the gamelan (saron players). Armies clash. Sindura proves his invulnerability to Ménak Jingga, who gets out his magic weapon the "golden iron" (wesi kuning) club and strikes Sindura, who falls dead. Scene blurs out.

    In the next scene, Ranggalawé and his wife (?) appear. Ranggalawé is ordered to by Ratu Ayu to come to Majapahit, where he will be asked to become commander-in-chief. His wife cries as he departs. Ménak Jingga and his army meet with Ranggalawé and the Majapahit army. thick smoke appears on stage. Camera shifts to close-up of imbal saron, with two players opposite one another at one saron. Soldiers try to kill Ménak Jingga, then leave. Only Ranggalawé and Ménak Jingga remain on stage; they fight. Ménak Jingga pulls his dagger (kris), but cannot penetrate Ranggalawé. Then he pulls his wesi kuning club and kills Ranggalawé. Actors freeze-action in last scene, as word "TAMAT" (completed) appears. After the credits, gamelan music keeps playing, although musicians are no longer shown live (freeze-action). TVRI Stasiun Yogyakarta 09 1992.

SA-1470 (80 minutes)

  1. "ANEKA TARI" Sanggar Tari: Sendratasik FPBS IKIP Yogya (Seni Drama Tari Musik, Fakultas Pendidkan Bahasa dan Seni) Begins with drum solo, a sparse but well-lit stage and backdrop.
    1. Begins with Lancaran Bindri, close-up of face and hands. Two female dancers in gambyong outfits, but dancing golèk dance, although the choreography does not seem to replicate any of the standard golèks. Music moves to Ladrang Surung Dhayung, irama 2. This is interrupted by an announcement of Muslim prayer time ("saat shalat")
    2. Fragmentari "Harjuna Wiwaha." A very conventional, almost archaic, presentation from standpointof musical accompaniment as well as dance choreography. Opens with Niwatakaca, dressed in Yogyanese outfit very similar to Kumbakarna, who approaches Supraba and sings a rambangan/palaran to her and she back to him (actually performed by off-camera singers). She sits on his knee as Ciptoning (Arjuna) enters, wearing the old Yogyanese leather hairpiece, rather than real hair falls now widely used. Ciptoning and Niwatakaca perform a slow dance to a ketawang in irama 2, and do battle to Playon. It ends with the couple, Ciptoning and Supraba, dancing to a loud-style ladrang mares/gati, complete with snare/field drum. Music fades out before suwuk.
    3. "Juritan" Trumpets and snare drums open with a military tune. Two male soldiers enter to a gamelan-type melody with trumpet, they then kneel (jèngkèng) to the accompaniment of something resembling the archaic monggang sound. They spar with swords to a loud modern piece, with saron instruments dominating. This fades and a drumming piece ensues, leading into Lancaran Bindri, Yogya style.
  2. WAYANG KULIT "HANOMAN DUTA." Dhalang: Ki Soegito Poerbo Tjarito (Banyumas); musical accompaniment: Ngesthi Kencana

    Begins right off with lively fight between Rahwana and Jetayu, to a spirited palaran. Musicians, using TVRI Yogyakarta gamelan (which is a Solonese set, with low 6 on saron and 12 kettles on sléndro bonangs), play a mixture of Solonese and Banyumas-style music. Lots of close ups of the dhalang, the suling player, and the pesindhèn.

    Rama, Laksmana, Sugriwa, and other monkeys appear; Sugriwa introduces Hanoman; Jetayu dies in their presence. Use of Srepegan Lasem Banyumasan, with video shots of very lively interlocking saron (imbal) but totally inaudible due to the inadequate miking by the producers. The dhalang's voice, however, is very clear. Most video shots show the screen or close-ups of the puppets, always from the dhalang's side.

    Sampak pancer 6 (Sampak "Mandras") is played for the fight between Hanoman and another monkey (Anila?). The punakawan enter to Srepegan Lasem, kayon planted for scene change. A pesindhen sings what is most likely a pathetan (sanga) as the dhalang speaks. Then Ladrang Panjang Ilang for the appearance of the female character Sayempraba. The punakawan speak both normal Javanese and Banyumas dialect (especially the clown Bawor). Hanoman meets Sayempraba and wants to marry her. An ada-ada sung by the dhalang is followed by a Sampak based on the Srepegan sl‚ndro sanga Banyumasan. They meet the garuda Sempati, then a giant who complains of hunger, but with no real battle resulting.

    Another pathetan to change to pathet manyura. Rahwana, Sita, and Trijatha are in the garden Taman Soka, music gets soft, with choral singing. Rahwana angrily tries to seduce her, but reluctantly gives her thirty more days to agree, accompanied by Sampak Manyura Banyumasan. He exits and Hanoman arrives to Srepegan Manyura Banyumasan. As proof that Hanoman is really a messenger from Rama, Semar arrives. Before departing, Hanoman wrecks Taman Soka/Alengka. Indrajit appearas, shoots his magic arrow, which binds Hanoman in chains. Rahwana orders him burned, but Wibisana appears and Hanoman escapes.

SA-1471 (96 minutes)

KETHOPRAK: "Ranggalaw‚ Gugur" [?]. Performers: Siswo Budyoyo (Tulungagung); director: Ki Siswondo Hs; musical director: Suparmad

  1. Opening scene: velvet-covered stools, a fancy throne (large chair) and filagreed carved wood (Jepara style). Music is a fast, loud-playing gamelan piece, then an unaccompanied song by male chorus. Ranggalaw‚ is dreaming about a battle, shown in double exposure with him sitting in a rocking chair by a table. Close-up of his face, with men fighting superimposted.

    Then a court scene with a king in a blue headdress, with other courtiers. Ranggalaw‚ comes and says everything may NOT be fine and peaceful in Majapahit, due to the portentious dream he has had. The others seem surprised.

    Later, two clowns in yellow vests and stagen discuss the dangers of riding the bus. Gamelan music involves some East Javanese features, such as bonang playing East Javanese adangiyah introduction. Scenery involves rocks, trees, painted backgrounds, never sparse. A pencak fight occurs, but is frozen as "Wait for the next episode" ("Nantikan Seri Berikutnya") appears on the screen and music is faded out abruptly.

  2. Introduction involves a close-up of porcelain cup and bowl, with loud, fast gamelan piece. The last fight scene of Part I is repeated, but not exactly (i.e., it is reenacted).

    In the second scene, a servant and a young baby (crying) appear. Another woman arrives and pretends to play the guitar or ukulele in keroncong style, as the other one sings, but with gamelan still playing loudly. Two court ladies enter (in red).

    In the next scene, Ranggalaw‚ appears with these two court ladies, accompanied by gendŠr. He proposes to both of them (confessing love for both). Both of them cry over a dream (apparently about Ranggalaw‚'s eventual demise). He leaves.

    Three soldiers then perform a spectacular pencak with acrobatics. Rnaggalaw‚ fights with the figure in blue headdress (Patih Nambi), as the gamelan performs a modified Sampak p‚log barang, with saron flourishes. The men with blue costumes go against Ranggalaw‚ but the king of Majapahit is likely to choose him as commander-in-chief (senopati). In a fight with man in blue, Ranggalaw‚ succeeds in killing his opponent, but is also wounded. Appears to be pulled to safety by his soldiers. The wives rush in crying. He is hurt, but does not appear to die on stage. As "TAMAT" and brief credits roll by, music fades out rapidly.

SA-1472 (102 minutes)

  1. ANEKA TARI Sanggar Tari: Tirtha Ayu (Yogyakarta). Leader: Dra. I Gusti Ayu Suastri.
    1. "Asmara Putri." One female dancer, then three more, each of their names given by briefly superimposed titles. Backdrop is simple Balinese temple door/gate, with one umbrella on either side. The dance is reminiscent of pendet. Two dancers leave, 2 remaining. One, as if a male, puts her arm around the other.
    2. "Tari Tanding." Musical accompaniment: Keluarga Putra Bali Three in a triangle, male style dance, but by female dancers. Suling prominent in accompaniment. Two more men enter to sporadic Balinese gamelan playing--baris style. Sudden shift to call for prayer, then back to a later moment in the dance. No shots of musicians- -possibly only a tape, but not professional quality. One headdress coming apart--hence either a live performance or not deemed worthy of retaping.
    3. "Tari Kuntul." Dance is reminiscent of legong; gamelan sound like semar pegulingan or pelegongan. Two dancers named Putu Raksa and Stevey (superimposed as in previous dances) Male dancers. Music and dance fade rapidly prior to completion.
  2. Mardawa Budhaya (an excerpt from ANEKA TARI)
    1. "Topeng Alus." A totally blank stage and background, back wall sky blue. A solo dance by a male dancer to Ladrang Sumyar. Some double exposure shots for effect; lots of close-ups of the mask.
    2. Fragmen tari "Jaka Tarub." Opens with male dancer as Jaka Tarub, out hunting, to Lancaran Jangkrik Genggong. Three female dancers appear, as nymphs--high quality dancing. This is the standard choreography by R.L. Sasminta Mardawa. Ends with Jaka Tarub and Nawang Wulan getting married after he has hidden her clothing so that she cannot fly back to heaven. Fade out for prayer time announcement, then quickly resumes, seeminlgy not missing much of the dance. It fades out near the end, just before completion of dance.
  3. WAYANG KULIT: "Sukrosono [Sukosrono] Gugur." Dhalang: Ki Darman Gondho Darsono; musical accompaniment: Manunggal Roso (Sragen).

    Talu (Ayak-ayak--Srepegan--Sampak, sl‚ndro manyura) for credits. Then dhalang begins to move puppets to Gendhing Genès. A refined figure appears, alone, mentions issue pertaining to a letter and a proposal of marriage. A ladrang piece makes subtle transition into Srepegan sl‚ndro nem. Some camera shots of a skillful saron sanga player and also of the kenong player during fast Sampak scenes. Punakawan appear just before Srepegan ends. It is Dewi Citrawati who is to be brought to Negara Maespati.

    Scene with Sumantri and Arjuna Sasra Bau, and a white ogre, who is apparently a transformation of the refined figure who appeared in the first scene. Use of Sampak sl‚ndro sanga, without a full pathetan. Sukrosono appears, with a blue, hideous face. For transition to pathet manyura, just a short phrase of the pathetan is used. A loud ladrang ends fast and loud (suwuk gropak), then Sampak Tlutur quiet as Sumantri explains to Sukrosono that Arjuna Sasra Bau has ordered him to kill Sukrosono. Sukrosono dies, Arjuna Sasra Bau comes and Sumantri tearfully tells Arjuna Sastra Bau the sad news that it was his own brother that he had to kill. Ends with a god (Wisnu?) descending.

SA-1473 (103 minutes)

  1. Dance Drama: KISAH DALAM KELAHIRAN ("Kelahiran Yesus Kristus"). Choreography: Bagong Kussidiardjo

    Opens with loud voice telling the story in Indonesian over a dynamic, loud-style gamelan, with some soft sections, but no vocals. First scene: Joseph and Mary, simple stage setting with a few steps. Herod is portrayed as a raksasa king, with an army of giants. The three wise men are portrayed by strong male (gagah) dancers. Most of the movements are standard Javanese. The gamelan is almost entirely loud and fast, a mix of some Sampak and Playon, with lots of new compositions (kreasi)--extremely episodic. Two punakawan as shepherds, cavort to lively Sundanese-style lancaran. Seven or eight children take the role of the sheep to a lagu dolanan. "Silent Night" is sung, with no harmony, for the appearance of the baby Jesus, to bell-like clanging of the gamelan. Then transition to Playon pélog nem transposition of sléndro sanga. Sundanese style dance and music for women around the virgin and child, transition to a dolanan with choral singing. Angel comes to tell them to flee to Egypt.

  2. ANEKA TARI Sanggar Tari: Diamyta (Yogyakarta). Leader: Drs. Baghawan Ciptoning. Opening credits accompanied by Sundanese kecapi-suling
    1. "Warung Doyong." A solo female dancer at first, then she is joined by five other dancers and all perform in more or less traditional female style. Then they switch to modern social dance, accompanied by a dangdut version of song "Warung Doyong‚" in Javanese language, but with Sundanese madenda scale. Music fades as dancers move off stage, right and left.
    2. "Joged joged." Sundanese. Two males dance to modern Sundanese Degung, but with double-reed (or electronic instrument with similar timbre?) Costumes involve many reflecive parts (mirros, sequins, etc.). Dance includes a break-dance episode, to drums and applause. Then a Javanese pop song, with lively movements but still mostly Javanese/Sundanese based. Music fades at end.
    3. "Rangkaian Tari Melayu." Music of electronic keyboard and drums sounds like irama Melayu Deli (Sumatra). Two women in non-batik skirts and shimmering gold kebayaks-- Sumatran (Minang?) costume. Pieces are in triple meter (as are some old Melayu Deli pieces). Ends without fading out.
  3. Wayang Orang: "Sidalamong." RRI Studio Surakarta, Taman Budaya Jateng (Central Java); musical arranger: Sukarno; dhalang: Krisgiyanto Sabdaleksono; script/naskah: Sardana MW

    Backdrop is cardboard drawings of three or four old Hindu-Javanese temples, shown with credits as gamelan performs short Talu (Ayak-ayak--Srepegan--Sampak, sl‚ndro manyura).

    Opening scene--no break from talu; Sampak moves directly into a Ketawang (Tarupala), as three females dance in strong male style. A refined characer (Bambangan, played by a female) enters, then a white-faced begawan (male). Dhalang sings pathetan nem jugag. An extroverted female (Nini Sengganawati) speaks at length (in low Javanese), to Srepegan sléndro nem.

    Punakawan enter a separate scene, with rich countryside background (rocks, trees, bushes) to a lagu dolanan in Nartosabdho style. A crazy begawan enters, wearing branches and leaves on his head and breaks into singing palaran at the Bambangan character, whom he claims to be looking for and eager to fight. Punawakan come to the crazy begawan's kingdom. Petruk dressed as a beautiful woman who has come to offer a proposal on Bambangan's behalf, Bagong holding an umbrella, Semar and Gareng rent wedding clothes. The two lovers sing to a ketawang (Sinom Parijatha), then Srepegan sl‚ndro sanga. Ayak-ayak for transformation to Srikandhi and three females. One female willing to marry Burisrawa. Sengganawati arrives with a red box and gives it to the female, who faints. Kresna and Baladewa rush in with others, as music switches to sl‚ndro pathet manyura. Sengganawati and Bambangan are both killed by Baladewa, but brought back to life. There is lots of improvisation on the part of the Punakawan and the crazy begawan. Two begawans meet and fight Baladewa. This ends with a long Sampak, with suwuk coda on pitch 6 over and over for the final credits and dancers in tableau (still).

SA-1474 (117 minutes)

  1. WAYANG KULIT: "Bale Sigolo-golo" [Si Gala-gala]. Dhalang: Ki Djoko Hadiwidjaja (Pudak Payung Semarang); musical accompaniment: Wijaya Laras.

    Opens with a loud bugle call, then sparse modern (experimental) gamelan sounds. The scene seems alrady to have begun, as the puppets are all et out and begin to speak (Sengkuni first), as the gamelan keesp playing sparse modern sounds. It then plays a military-sounding new piece (kreasi) in pélog, with cymbals and snare/field drum, keyboard, saxophone, and mixed male and female choral singing. The army puppet (rampogan) is introduced and a character playing a bass drum with a beater (camera offers several action shots of the gamelan musicians interspersed with the on-screen puppet musician). Music moves to a fast kebar/kiprahan.

    Next scene begins with a ladrang bedhayan in pélog as Bima, Puntadewa and an unconventional- looking female puppet appear--this is apparenlty Dewi Kunthi, with luruh (calm) voice. Gamelan plays Srepegan nem ngelik, but in p‚log, then an ada-ada in sl‚ndro nem. Bima scrapes his weapon against one of the kayons, as the electronic keyboard provides sound effects. As music switches to pathet sanga, the punakawan enter and joke about pesindhŠn, discuss music (dangdut as diatonic; gamelan as pentatonic). Music switches to pathet manyura for various fights, finally Bima vs. a large ogre, with lots of sound effects from the keyboard. The final piece reaches ending (suwuk) and the kayon are planted in the middle of the screen (tancep)--so NOT a fade-out ending for this.

  2. TARI JAWA TIMUR (does not start from beginning; titles not given)

    A modern piece, with kidung singing, in p‚log bem. Dancers play with sarong and long kain (cloth) in style reminiscent of Alvin Nikolai troupe. Solo male voice, sporadic gamelan instrumental playing. Unusual selective lighting effects. Gandrung Banyuwangi movements and music, though all dancers are male.

  3. [DRAMA] (does not start from beginning; titles not given)

    Drama with Javanese language dialogue, opening scene is jail, but actors wear old Javanese outfits. Gamelan accompaniment exhibits some East Javanese characteristics. Genre seems to be a kind of kethoprak, with use of keprak. There is a comic interlude in which the lawak/comedians talk about the need to take care of traditional Javanese music (gendhing). They also disuss Ponorogo and the local office of the Department of Education and Culture (PDK).

    A fight scene involves good acrobatics. A long-lost daughter, Warianti, comes to claim her heritage to her parents, her father being an adipati (prince) of Argopura. Two other younger children (sons) are there and no one is inclined to credit her claim. However, her mother remembers her special mark on her neck and, seeing it now, realizes this is her true daughter. Warianti fights with the two lawak on her way to Tanjung Anom, but then this item cuts off before ending.

SA-1475 (100 minutes)

  1. KETHOPRAK (LESUNG): "Cindhelaras, Seri I." Sapta Mandala Group script/naskah: Samsuri TB; choreographer: Sutapa TB; musical accompaniment: Sutrisno.

    Opens with singing in counterpoint, percussion and alok. Lesung Jumengglung (a Nartosabdho piece) in two parts. Percussionists with kendhang, lesung (riceblock), etc. on platform, others with poles on the floor. Speaking between a male and female actor as others sit on the floor with poles. They dance to vocals with non-gamelan percussion--like laras madya but with no frame drums. A pathetan is performed with rebab and gambang only (no voice or gender). Lots of closeups of the speakers, obscuring the movements by the group on the floor. Every dances near the end, simple. Two men spar singing palaran/rambangan with only drum and wooden and bamboo percussion. Then joking/dhagelan by these two men and all dance. At the end, one man announces to "para rawuh" (lit. "all those who have come, who are present") that part two will be offered next Tuesday.

  2. LANGEN MANDRA WANARA (beginning portion missing)

    Cuts in to Hanoman, Rama, and Laksmana. Ogre king (Rahwana?) comes in and challenges Rama. Rama shoots Rahwana with an arrow-- fade out.

  3. KETHOPRAK (LESUNG): "Cindhe laras, Seri II" (beginning portion missing) Similar to the first one (Seri I). Only 15 minutes and it ends.
  4. ANEKA TARI. Sanggar: Insan Mingigel (Yogyakarta, but Balinese style)
    1. "Tari Sekarmuda." One woman on high seat, dances in seated position. Two on floor below dance in a style something like Tumulilingan, with long scarves. Stage is a simple set up: steps with two Balinese umbrellas, no Balinese temple gate. Dancer seated on high descends and both dance and music suggest legong, whereas before there was reong and a more kebyar sound. Then an abrupt switch to
    2. "Putri Teratai." Karya (created by): Feeling, S.H. [sic]

      Strongly Chinese piece, with Chinese zither (zheng) accompaniment. One female dancer in Chinese outfit, others lying on the floor. Then a larger orchestra joins in--fully and unambiguously Chinese music. Some dancers appear to be Chinese, others native Indonesian.

    3. "Gaplek." Opens with rebab, then lively Sundanese drumming. Three females in Sundanese (Betawi?) outfits. Seems like ronggeng with ketuk tilu accompaniment. Singing is in jaipong style, obviously from a cassette.
    4. "Aarati." Karya (created by): Feeling, S.H. This is an Indian piece. Music consists of sarod, sarangi, santur (or some hammer zither) and sitar. Singing as well. Two dancers on floor, and two above them sit or stand. Dance style seems inspired by Baratanatyam. It fades out before ending--out of time.

SA-1476 (99 minutes)

  1. ANEKA TARI. Sanggar Tari: Narpo Wandowo Kraton Surakarta. Musical accompaniment: same (all female group)

    "Srimpi Lobong." Gamelan is in back of the four female dancers. Paku Buwana VIII given as the creator of the dance. (His name and title of the piece only given about four minutes into the show.) Dancers wear jackets with covered sholders, purple color (not traditional srimpi outfits). Each dancer with bow and arrow and green scarf. The gamelan musicians all wear green kebayaks. Slow exit to a pathetan.

  2. WAYANG ORANG: "Kongso Ngulandoro" 03 1993. PLT PTT Rahmisari Purawisata--Yogya

    Set is plain gray stone wall with door. Opens with ladrang in bedhayan style and dhalang narrating. Two female dancers enter. then Raden Udawa and Kakrasana entourage enter talk about Narayana.

    Second scene in woods, to pathetan sl‚ndro sanga. Udawa and younger sister visited by a fanged king (Kangsa?) who falls in love with her. He sings a love palaran to her, but Udawa says she cannot marry him becuase she is promised to Bratajaya. The punakawan enter, sing a lagu dolanan and laugh. They talk about having to be "sadar lingkungan" (ecologically aware) and about serving tourists with culture/art. They joke about technology and machines. Giants arrive and scare them off, then young refined figure (Bambangan) arrives. Lancaran Jangkrik Genggong, to Srepegan, to Sampak sléndro sanga for fight. Ayak-ayak for punakawan entrance at end of fight.

    Scene inside a palace, with stone brick walls (drawn). Durna, Dewi Kunthi, Bratasena, several Kurawa. Bratasena fights with one Kurawa (Dursasana?) to a slow Cara Balèn piece, then Sampak sléndro manyura. Ends with Kangsa, still and pointing, as gamelan performs a lagu dolanan with choral singing, which fades out before the suwuk.

  3. Sendratari "Upacara" (beginning portion missing)

    Gamelan is in background (upstage). Men and women raise their arms, seated cross- legged (sila), as if in prayer. Accompanied by solo male song, occasionally joined by other male voices. Flags are set up, incense is burning. A sparse gamelan piece plays, mostly alternating between two adjacent tones. Four men sit, clap, and sing, as women dance--as if professional entertainers (lèdhèk). Then they speak, sometimes yelling. Gamelan piece begins with bonang introduction and couples dance (tayuban). Music switches to double-reed (sronen) and men dance in martial arts (pencak) style, but use whips and shields. Announcement of time for Muslim prayer (Saat Shalat) appears superimposed on the screen, but the dance continues uninterrupted. Then a female seated on a platform is carried to the center, stands and puts on dark glasses, as other women dance around her (something like sintrèn?). An archaic ostinato piece is sounded for slow exit, fade out rather than suwuk.

SA-1477 (105 minutes)

  1. WAYANG KULIT: "Salindri" (starts after beginning). Dhalang: Nyi Suharni Sabdhowati (Sragen)

    Related to "Wiratha Parwa" story. Opens with solo pesindhèn and gendèr music, then double exposure of one wayang figure close up, with the whole screen and silent gamelan. Instruments include a bass drum and cymbal for battle scenes. A female character, Salindri, enters and makes obeisance (sembah) to the king (Mangsapati?). Gamelan plays Ladrang Wilujeng in double-density style (rangkep), then rep (suddenly quiet).

    The male king figure exclaims over the beauty of Salindri. Large white figure resembling Baladewa, named Seta. Dhalang sings sulukan in male register and does all the speaking (antawacana) in male register! Her voice is capable of being very gruff/kasar. Musicians perform a palaran in the midst of an unusual Srepegan sl‚ndro nem, then make an abrupt transition (5321) from Sampak sléndro nem to Srepegan sl‚ndro sanga, Yogyanese version (Playon). The punakawan enter to the lagu dolanan "Mas Djoko" They even sing a hymn tune to sléndro gamelan (5--5 6531 1--- 6 (low)--- 1... etc.) After clown interlude, lots of Sampak sléndro manyura for battles. Fade out before final ending

  2. WAYANG ORANG: "Endang Mablumsari." Performers: Pembauran Seniman Surakarta; leader: Ny. Hardjianto; musical arranger: Sumarso.

    Begins with normal short talu (Ayak-ayakan - Srepegan - Sampak sl‚ndro pathet manyura). First scene involves two gambyong dancers, one of them male, and a sassy comedian with pink flower hat, crying and carrying on (Srikandhi in disguise). Background is cardboard representing stone walls. A refined character appears, with praba, as the other three dance to a lagu dolanan. First Srepegan is already sléndro pathet sanga. Followed by Ketawang Subakastawa for a bambangan character named Bambang Pamularsih, from Gajah Oyo. This is followed by a standard/typical "flower battle" (perang kembang) with Cakil, to the accompaniment of Kemuda (in sléndro) and then Srepegan, etc.

    After Bambang has killed several ogres, a giant begawan appears and they fight. The dhalang is not miked and sounds distant in the sulukan. In the next scene, at court, a female, the giant begawan, and Bambang to Srepegan sléndro manyura. A refined king (Kresna) and the begawan (Arjuna) fight,and both malih/transform into their true identities. Performance ends with Arjuna, Sumbadra, Sri Kandhi.

SA-1478 (125 minutes) TVRI

  1. BUDAYA TRADISIONAL: "Srikandhi Mustokoweni." Performers: Tri Budaya Sari; choreography: Soerono; gamelan director: Subagyo

    Background is forest and palace, painted in water colors, not sharp. Performance actually takes place at the hotel Le Meridien in front of a live audience.

    In the opening scene, a giant and a foreign king. On stage, a big kayon-shaped sign: "Malam Gandem Marem." Waiters in white coats and epilets go by occasionally. Long kiprah dance by a plump gagah character, Prabu Bumiloka. Music quiet (rep) for a long januran by the dhalang. Subtitles announce the location of the scene (Imomantoko) and summarize action in Indonesian.

    Prabu Bumiloka is older brother of Mustokoweni. Music includes Lancaran Ricik-ricik Banyumas (irama level 1 - loudplaying/soran), then ada-ada. Prabu Bumiloka sings his own vocal introduction (celuk) followed by palaran. Mustokoweni answers in palaran. They discuss the death of their father, Nirwatakawaca, who was killed by Arjuna. Gathotkaca appears (actually Mustokoweni in disguise) and leaves to steal the pusaka Jamus Kalimasada, as revenge for the death of their father, to Srepegan sléndro nem.

    Cakil figure apperas and leaves. Ketawang Subakastawa as Bambang Priyambada (son of Athen in p‚log nem, followed by Kemudha.

    Gathotkaca comes to "Namarata" (= Ngamarta?) to ask all the females (Dewi Drupadi, Sumbadra, Larasati, and Sulastri) for the Kalimasada. Drupadi gives it to him. To Sampak sléndro manyura, Srikandhi comes to get it back, but Gathotkaca has left. She leaves in pursuit, finds him, and sings a palaran, then they fight. She shoots him and he turns into Mustokoweni and leaves.

    Kresna and others appear, then Priyambada and the punakawan. Srikandhi tells Priyambada that Mustokoweni has the pusaka Jamus Kalimasada and that it can kill the Pandhawa brothers. So, to Sampak p‚log barang, Priyambada dsiguises himself as Prabu Bumiloka to get it. He succeeds and turns back into Priyambada. Priyambada and Mustokoweni fight, with Mustokoweni losing and agreeing to marry Priyambada. Finally, Kresna and Arjuna come to express thanks to Priyambada.

  2. TARI NGREMO (beginning portion missing). Performers: Seni Ludruk Duta Budaya

    Cuts in near the end of a lagu dolanan, and changes to Krucilan. A young, flashy dancer, fast and strong, does ngr‚mo dance. Music quiet (rep) as he sings a short kidungan section, then back to Krucilan. There is not much of the usual Lancaran Surabayan in this ngr‚mo performance. This is followed by a ludruk, beginning with an East Javanese temple gate as background on stage.

    The play begins, using Indonesian language, presenting the story of a blind man and his wife, in modern times. The sets are modern--living room, restaurant (rumah makan), one female character played by a male, but the wife of the blind man is played by a woman. Play shows their troubles, but also lots of humorous incidents. It cuts off before the conclusion of the play.

  3. [Though listed on the cassette case, there is no III: Sumbadra Larung]

SA-1479 (105 minutes)

  1. WAYANG KLITHIK: "Ménak Jingga Léna." Dhalang: Ki Prayitno

    Opens with village scenes, then a view of the audience standing outside a small pendhapa. A young dhalang performs, with raon and rebab playing in the quiet (rep) sections, and saron playing for pathetan. Many camera shots of the instrumentalists, the puppets, planted in holes in a wooden board (not a banana log as is normal in most wayang performances).

    In first scene, Damar Wulan and Anjasmara appear, with Ratu Ayu, who says that only Damar Wulan can do the job (of killing M‚nak Jingga). A Srepegan-type piece is soft, with saron, kempul pitch 6, siyem pitch 2, and kenong. Some shots of rebab and saron not in synch with the sound track.

    This version has Dewi Wahita and Dewi Puyengan (as in Mangkunegaran version) and M‚nak Jingga as a dog-faced character. Camera shows close-up of the light source: a Petromax kerosene lantern (as blencong?). Shots of villagers, even of a boy sound asleep on a mat. Wahita steals the magic "yellow iron" (wesi kuning) club of M‚nak Jingga. After Damar Wulan kills M‚nak Jingga, a separate puppet is used for his severed head.

    Story goes on to Layang S‚ta and Layang Kumitir meeting Damar Wulan and taking the head of M‚nak Jingga. The scene fades before completion. Kayon is not planted, and music is still a sulukan. Then another soundtrack, a gamelan piece in pélog, loud-style, is used.

  2. WAYANG KULIT: "Babad Wana Wisamarta" dhalang?

    Opens with a pesindhèn singing in barang miring, with wayang already going. Bratasena and a female appear, then a giant ore (seems to be Niwatakaca). A strange samapk is used, ending on gongtone 3. Then a group suluk (slendro nem wantah), followed by a slendro ladrang and a piece in pélog, with much bedhayan singing during the quiet (rep) portions. Dewi Arimbi, Dajadenta, and a giant ogre appear as music ends fast (gropak) followed by ada-ada "Sigra bidhal..." Petruk appears. Pesindhèn sings the sulukan sléndro pathet sanga, followed by Ayak-ayakan and Srepegan sléndro sanga, as Cakil appears, with a Bambang character. Bambang character and Cakil perform to a palaran, then normal Sampak. Ladrang Embat-embat Penjalin for Bratasena, but stops in the middle as the kayons cover Bratasena. A solo tembang by the pesindhèn, with pathetan accompaniment, pélog barang, followed by a ladrang. Also played: Sampak Tayungan (6666 5555 3333 2222), and Sampak Tlutur and regular Sampak sl‚ndro manyura. Puntadewa gets a new name, Prabu Yudisthira, as king of "Wisamarta." Arimbi changes into a beautiful woman in order to "serve" (suwita) Bratasena.

SA-1480 (97 minutes) TVRI

WAYANG GOLEK: "Lodra Parisangka Pejah" (Bagian I). Dalang: Asep Sunandar Sunarya ; group: LS. Giri Harja III Bandung Juru Kawih: Nani Ratningsih

Performed in Sundanese, with Indonesian subtitles providing a summary of the story. Prabu Parisangka, an offspring of a naga (Naga Percona) want to kill Gatotkaca to avenge his father's death. Father was killed by Jabang Tutuka, now known as Gatotkaca. P‚log gamelan pieces are used. Some double-exposures, of puppeteer with puppet character. Some figures do impressive pencak moves, as 2 kempul alternate, and rebab is prominent. Another figure appears in a cowboy hat. There are lots of comic figures, and antics; not much musical accompaniment. Antareja also involves, and fights with Patih Parisangka. At the end, there is mention of Dirgahayu HUT Indonesia ke48 (celebration of the 48th Independence Day). The music fades out. Title indicates it is Produksi TVRI St. Bandung, 08 1993.

SA-1489 (46 minutes) INDONESIAN THEATER: "SINDEN." (In Indonesian language) Performers: Teater Gandek (Yogya); coordinator: Butet Kertaredjasa; music directors: Novi Budianto & G. Jaduk Ferianto

Opens with knocking. A women in clown mask plays a small kenthongan (slit gong), men enter palying frame drums (terbang). The stage set is elaborate, with flashing lights. Batara Guru, Narada, and other Mahabharata god characters appear, talking about playing chess during work hours, etc. The characters wear masks, long noses, and Bugis-style headdresses. They ask whether anyone has heard of the famous pesindhèn named Semi. The gods want her in heaven to return their spirit to its former healthy state. Music is provided by the actors themselves, playing small drum and gong, and singing.

In the second scene, a jealous wife complains to her husband because he is smitten by the pesindhèn Semi, thus forgetting his wife and kids. He wants Semi to enter (and win) a national contest. He is the local village head (lurah desa) and claims that winning the contest will be great for the village. She threatens to speak to the heads of the subdistrict (Pak Camat) and the district (Pak Bupati), and to reporters (wartawan). A reporter comes from Jakarta. Semi, the lurah desa and two others fumble trying to do their best to make a fine impression on the reporter. Then the gods come and take her away to heaven.

SA-1582 & 1583 (SA-1582 = 70 minutes; SA-1583 = 52 minutes)

INDONESIAN THEATER: "Juragan Abiyoso." (In Indonesian language) Performers: Teater Gandrik; coordinator: Butet Kartoredjasa; director: Jujuk Prabowo

A modern play about workers in a batik factory, with men doing the delicate wax application (with traditional implement/canting). Video copy is poor, but the camerawork was adequate--comparable to TVRI excep that the sound has more echo. A small music ensemble is in the foreground, facing the stage (away from the camera). Two sons of Bagong Kussudiardjo (Otok and Jaduk) both act in this. Performance is in front of a live audience, which is not shown, but laughter is heard.