The Colorado College Music Department presents

Temu Wicara : A Celebration of Balinese Performing Arts in honor of the twentieth anniversary of at Colorado College

featuring Gamelan Tunjung Sari and Gamelan Santi Suara (Colorado College) Gamelan Candra Wyoga (University of Wyoming) Gamelan Genta Kencana (University of Colorado at Boulder) Gamelan Krama Bali (Balinese Community) Gamelan Manik Kusuma (Metropolitan State University of Denver) Gamelan Tunas Mekar (Denver) The Bowed Piano Ensemble (Colorado College)

I Made Lasmawan and Victoria Lindsay Levine, Directors Ni Ketut Marni, Director of Dance

May 4, 2013 Packard Hall

ACKNOWLEDGMENTS

For their good work in helping to produce this event, we thank:

Stormy Burns, Cathe Bailie, and Neil Hesse from the Colorado College Music Department Jennifer Kulier and Leslie Weddell from Colorado College Communications Dan Wiencek, Colorado College Information Management Bob Winkelblech and Nolan Keale, Colorado College Facilities Services Mary Ellen Davis, Noel Black, and Delaney Utterbeck from KRCC Radio Bon Appétit Catering

Our celebration was made possible by generous funding from the following sponsors:

Colorado College Asian Studies Program Colorado College Music Department Colorado College Theatre and Dance Department Colorado College Cultural Attractions Colorado College President’s Office The Christine S. Johnson Professorship The National Endowment for the Humanities Professorship The Colorado Springs Independent The College of Music, University of Colorado at Boulder

The Indonesian performing arts program at Colorado College was founded in 1992 by Professor Victoria Lindsay Levine, who imported the gamelan and gamelan gender from Bali with funds from the John D. and Catherine T. MacArthur Professorship and the departments of Music and Asian Studies. I Made Lasmawan joined our faculty as Gamelan Director in January 1993, and we performed our first concert later that spring. Over the past twenty years, our program has grown to include five different kinds of Balinese gamelan (gamelan angklung, gamelan gender wayang, gamelan balanganjur, gamelan gambuh, and gamelan joged), as well as gamelan ageng from Central . In addition to teaching gamelan and Balinese dance, we offer an academic course on the of and a summer course on the arts and culture of Bali, taught in Bali.

Your courtesy in refraining from the use of flash photography, electronic watches, cell phones, pagers, and other electronic devices is appreciated.

PROGRAM

Session 1: Presentations (1:30-3:00 PM) 1:30 “Music in Balinese Culture,” David Harnish (University of San Diego) 2:00 “Balinese Musicians and Society,” I Made Lasmawan (Colorado College) 2:30 “Tourism and Balinese Performing Arts,” Elizabeth Macy (Chapman University)

Session 2: Concert I (3:00-4:00 PM) 3:00 Gamelan Manik Kusuma (Metropolitan State University of Denver) 3:30 Gamelan Candra Wyoga (University of Wyoming)

Break (4:00-4:30 PM)

Session 3: Presentations (4:30-5:30 PM) 4:30 “Balinese Dance and Drama,” I Nyoman Wenten (California Institute of the Arts) 5:00 “Innovating Tradition in Balinese Shadow Play,” Lisa Gold (University of California- Berkeley)

Break (5:30-7:00 PM)

Session 4: Concert 2 (7:00-9:30 PM) 7:00 Welcome, Packard Lobby: Gamelan Genta Kencana (University of Colorado at Boulder)

7:30 Gamelan Tunjung Sari, Gamelan Santi Suara, and The Bowed Piano Ensemble (Colorado College)

8:15 Intermission

8:30 Gamelan Tunas Mekar (Denver) Gamelan Krama Bali (Balinese Community)

CONCERT I

In Packard Recital Hall, 3:00 PM

Capung Gantung (Hovering Dragonfly) Traditional Gamelan Manik Kusuma

Rejang Dewa (Sacred Welcome Dance) Traditional Elizabeth Andrews, Kompiang Metri-Davies, Jessica Ross, Katrina Stahl, and Diyah Widyati, dancers Gamelan Manik Kusuma

Jagul (Leaping Fish) I Wayan Lotring Gamelan Candra Wyoga

Gabor (Greeting) I Wayan Berata Ni Putu Indira, Ni Putu Laksmi Maqueena, Ni Ketut Marni,* and Ni Wayan Sawitri, dancers Gamelan Candra Wyoga

Janger (Social Dance) Budi Susanto Johanes Arr. I Made Lasmawan* Gamelan Candra Wyoga with the University of Wyoming Singers

*CC Faculty/Staff

PROGRAM NOTES

The gamelan is a musical ensemble from Indonesia; in Bali, gamelan accompany village temple ceremonies, life cycle rituals, and social entertainments. These ensembles consist primarily of bronze metallophones in four sizes, horizontal and vertical knobbed , cymbals, drums, and end-blown bamboo flutes. Some gamelan also feature the , a two-stringed spike fiddle. There are some thirty different kinds of gamelan in Bali, each of which has its own history, instrumentation, tuning, repertory, and social contexts for performance. Each pair of metallophones is tuned slightly apart to produce acoustical beats, giving Balinese music its distinctive shimmering sound.

This afternoon’s concert features two kinds of gamelan. Gamelan angklung, played by Gamelan Manik Kusuma, employs a four-tone scale with roughly equidistant intervals. This ensemble represents an ancient style of gamelan, traditionally used in village temple ceremonies and cremation rites. Gamelan semar pegulingan, played by Gamelan Candra Wyoga, employs a five-tone scale with intervals of different sizes. This ensemble represents a style of gamelan that developed in the sixteenth century under the influence of Javanese music and musicians; it was originally played at court to accompany royal lovemaking. Both gamelan angklung and gamelan semar pegulingan now play traditional pieces as well as new music and works composed for other ensembles, such as gamelan kebyar.

“Capung Gantung” is a traditional piece for gamelan angklung. It demonstrates various Balinese musical techniques, such as sharp dynamic changes, melodic layering, interlocking parts, and a cyclical approach to the organization of musical time. “Rejang Dewa” and “Gabor” are dances that welcome both gods and humans to Balinese Hindu temple ceremonies. “Rejang Dewa” is traditional, while “Gabor” was composed and choreographed by I Wayan Berata. These dances derive from the style of women’s welcome dances, demonstrating the halus or refined style, and the dancers shower the audience with flower petals in a gesture of greeting. “Jagul,” created for gamelan semar pegulingan by the great twentieth-century composer I Wayan Lotring, was inspired by a majestic genre of ceremonial music, lelambatan, which features a complex form and diverse textures. The title of the piece is difficult to translate into English, but the linguist Edmundo Luna explains that “One book suggested a species of large eels, while another book (of folktales) suggested a legendary fish with a human head, which came about during a ’s (magical healer) botched attempt to switch his son’s body with that of their dog. The dog’s head ended up on the son’s body, making a bebaung (howling dog), while the son’s head fell into a nearby river. The God Siwa saved the boy’s head from being eaten by creating a fish body for the head, with the resulting creature being named I Jagul. Many musicians, though, just think of the specific drumming pattern associated with the piece as being ‘Jagul’” (Edmundo Luna, personal communication, April 26, 2013). Made Lasmawan further explains that in composing the piece, Lotring was inspired by the sight of large fish leaping around a traditional skiff in the ocean near his home at Kuta Beach. “Janger” is a dance genre that features competing groups of young men and women singers. This performance, inspired by a setting by Budi Susanto Johanes, has been arranged for Candra Wyoga by I Made Lasmawan in collaboration with Dr. Nicole Lamartine, Director of the University of Wyoming Singers.

Gamelan Manik Kusuma was founded by Professors Peter Schimpf and I Made Lasmawan at Metropolitan State University of Denver in 2011. As a student ensemble, Professor Schimpf states that “this group seeks to experience and promote the rich musical tradition of Balinese gamelan.” Manik Kusuma means “Magical Aroma.”

Members of Gamelan Manik Kusuma Aaron Burris-DeBoskey, Louis Descala, Anthony Johnston, I Made Lasmawan,* Shawn Mollenhauer, Kelena Reed, Charles Potter, Peter Schimpf, Zoey St-Lleeuwpaardtlijk, Terissa Thompson, Tyler Van Dam, Jessica Vits, Sam Young

Gamelan Candra Wyoga was founded by Professors Rodney Garnett and I Made Lasmawan at the University of Wyoming in 1996. The Alan Willman Fund (Department of Music, University of Wyoming) provided support for the purchase and shipping of the instruments, which were imported from Bali by Lasmawan. The gamelan is housed at the university, but membership in the ensemble is open to both students and members of the Laramie community. Candra Wyoga translates as “Meditation on the Beauty of the Full Moon,” which Professor Garnett explains is “an especially wonderful experience in Wyoming.” Candra Wyoga specializes in playing music from the modern repertory that has been arranged for semar pegulingan, but the group also plays music from the classic semar pegulingan repertory and works originally composed for other Balinese ensembles.

Members of Gamelan Candra Wyoga Ronny Brian, Laurie Bueter, Leif Cawley, Rod Garnett, Jordan Hemingway, I Made Lasmawan,* Christine Michel, Betsy Mock, Krystle Radtke, Amelia Roberts, Mollie Steinke, Caitlin Wallace, Victoria Zero

The University of Wyoming Singers Dr. Nicole Lamartine, Director Amy Bradley, Emily Brumbaugh, Brady Carroll, Josh Cooper, JoLynn Fletcher, Pamela Jensik, Krista Lawrence, Erik Mitchell, Victor Pokorny, Emily Silco, Brian Sussman, Alison Rickard, Amelia Roberts, Caleb Robinson, Alex Thomas

CONCERT II

In Packard Lobby, 7:00 PM

Tabuh Telu Kembang Kuning (Yellow Flower) Traditional Karya Wiwaha (Wedding Ceremony) I Made Lasmawan* Balaganjur (Processional) Traditional Gamelan Genta Kencana

In Packard Recital Hall, 7:30 PM Pakeling (Remembrance) I Made Lasmawan* Gamelan Tunjung Sari

Taman Sari (Flowers in the Garden) I Ketut Budiyana Erin Harty, Vie Lam, Victoria Marsh, Justice Miles, Carrie Olsen, and Katrina Stahl, dancers with Gamelan Tunjung Sari

Merak Angelo (Peacocks Displaying) I Dewa Gede Dharmayasa Ni Ketut Marni* and Diyah Widyati, dancers with Gamelan Tunjung Sari

Kembang Kawat (Flowering Strings) I Made Lasmawan* and Stephen Scott* Gamelan Santi Suara with the Colorado College Bowed Piano Ensemble

Intermission

Tirta Bhuana (World Holy Water) I Made Lasmawan* Gamelan Tunas Mekar

Teruna Jaya (Victorious Youth) I Gede Manik Ni Ketut Marni,* dancer with Gamelan Tunas Mekar

Sumiar (Happiness) I Made Lasmawan* Gamelan Krama Bali

Sekar Japun (Frangipani Flower) I Wayan Widia Ni Ketut Marni* and Siti Nartani Wenten, dancers Gamelan Krama Bali

Catur Rawita (The Beauty of Four) I Ketut Gede Asnawa Gamelan Krama Bali

Barong and Dance Traditional Kendal Burk, Aaron Burris-Deboskey, Junmin Cho, I Putu Tangkas Hiranmayena, Issiri, I Gusti Ngurah Kertayuda, Andrew J. Salimbeni, Reed Snyderman, I Wayan Susila, and Blake Reichert, dancers With Gamelan Krama Bali

*CC Faculty/Staff

PROGRAM NOTES This evening’s concert features four kinds of gamelan as well as the Bowed Piano Ensemble. Gamelan angklung, played by Gamelan Genta Kencana and Gamelan Tunjung Sari, employs either a four- or five-tone slendro scale with roughly equidistant intervals. This ensemble represents an ancient style of gamelan, traditionally used in village temple ceremonies and cremation rites. Gamelan balaganjur, played by Gamelan Genta Kencana, is an ensemble that originated after 1500 C.E. and is used to accompany religious processions, but it also appears in exuberant gamelan competitions. Gamelan gender wayang, played by Gamelan Santi Suara, represents another ancient style of gamelan in five-tone slendro tuning. Traditionally, this ensemble accompanies shadow puppet plays, cremation rituals, and tooth-filing ceremonies. These gamelan now play traditional as well as new music, as this evening’s program demonstrates. Gamelan semara dana, played by Gamelan Tunas Mekar and Gamelan Krama Bali, represents a recent development in Balinese musical culture. This gamelan, invented during the 1980s, blends instruments from the twentieth-century gamelan gong kebyar with the seven-tone pelog tuning associated with medieval gambuh theater.

The first three pieces are performed in the lobby of Packard Hall by Gamelan Genta Kencana to welcome guests to the evening portion of our celebration. “Tabuh Telu Kembang Kuning” derives from the gamelan gong gede repertory; it features gong gede performance idioms, such as a characteristic single-note striking technique. Lasmawan composed“Karya Wiwaha” in 2004 for the wedding of his dear friends, Jill Fredericksen and Michael Fitts, who are core members of Gamelan Tunas Mekar. The piece is in four parts and incorporates singing, which is innovative in gamelan angklung music. “Balaganjur” features short, repeating gong cycles played on cymbals, gongs, and drums.

Inside the recital hall, the concert opens with “Pakeling,” a contemporary composition in the style known as kreasi baru (new creation). Lasmawan originally composed the piece for gamelan gong kebyar in 1992, and later arranged it for gamelan angklung. It combines stylistic components from both ancient and modern gamelan repertories, including gamelan , gamelan gong, gamelan gong kebyar, and of course gamelan angklung. Like other kreasi baru pieces, “Pakeling” demonstrates considerable freedom from traditional gong cycles. It also features an extended gamelan technique, in which players sound the ceng-ceng kopyak (crash cymbals) by striking them with wooden mallets and dampening them against their legs. The work’s title refers to remembrances of the past, including earlier musical styles, ancestors, and teachers. “Taman Sari” is a new contemporary dance choreographed by I Ketut Rena in the late 1990s to music by I Ketut Budiyana. The dancers carry flowers as a symbol of welcome. “Merak Angelo,” another contemporary dance, was choreographed in 2008 by I Ketut Rena. This work, depicting two peacocks displaying their feathers, demands strength and stamina from both the dancers and the musicians. “Kembang Kawat” is an intercultural, collaborative composition created by I Made Lasmawan and Stephen Scott for this evening’s concert. Featuring CC’s Bowed Piano Ensemble and Gamelan Santi Suara, the piece blends stylistic components from Balinese and American music, and employs avant-garde performance techniques in both ensembles.

Lasmawan composed “Tirta Bhuana” in 2003 for gamelan samara dana in the kreasi baru or “new creation” style that emerged in Balinese music during the twentieth century. The piece was inspired by the way Balinese people use water in all aspects of their daily spiritual and social lives.“Teruna Jaya” was composed in the kebyar style of music and dance, which originated in the early twentieth century as secular entertainment. The dance portrays an unpredictable youth, and the ethnomusicologist writes that the music “comprises a varied chain of melodies, tempi, and textures,” and that the work is a showpiece “in which music and dance are tightly intertwined and in which a dancer’s performance is judged by the same standards of precision and expression as that of the accompanying musicians” (Tenzer 2000:90, 162-63). “Sumiar” was composed for Gamelan Genta Kencana in 2003 following the terrorist bombing in Bali to lift peoples’ spirits in the wake of that disaster. Lasmawan composed the piece in the angklung kebyar style to introduce audiences to the various textures, timbres, and instrumental techniques of gamelan music. Ida Ayu Wimba Ruspawati choreographed “Sekar Japun” to represent the Badung region at the 2008 Bali Arts Festival. The frangipani flowers in the dancers’ headdresses are yellow and white, colors that symbolize the holiness of the gods. “Catur Rawita” is a new composition for gamelan angklung that incorporates singing and wayang shadow puppets representing the Balinese Tree of Life. The title refers to the exceptionally sweet sound of the four-tone gamelan angklung. This work, created by Asnawa for Gamelan Tunjung Sari in honor of our twentieth anniversary, is intended to convey a feeling of happiness and emotional refreshment. The dance scholars I Wayan Dibia and Rucina Ballinger explain that “the playful lion-like and the menacing witch Rangda are two sides of a coin. Both village protectors, their power comes to the fore in dramas depicting their escapades. All the stories involving these two characters are steeped in black magic and invariably induce trance in either the performers or the audience” (Dibia and Ballinger 2004:70). In the “Barong and Rangda Dance,” these two forces confront one another in the ongoing battle between good and evil. During the fight, the human followers of the Barong enter trance and rush to his aid with their ceremonial daggers, but Rangda uses her magic powers to force them to turn the daggers on themselves. The Barong protects them from injuring themselves and a priest sprinkles them with holy water to bring them out of trance. The Barong costume weighs about 90 pounds and is worn by two dancers; its fur is made of leaf fiber and it wears tooled leather adornments set with small mirrors.

Gamelan Genta Kencana, which means “Holy Golden Sound,” is a five-tone gamelan angklung in slendro tuning that originated in northern Bali, where it accompanies village religious festivals and ceremonies. The ensemble was founded in 1998 with funds from the Chancellor’s Office and the College of Music of the University of Colorado at Boulder. The group is directed by I Made Lasmawn.*

Members of Gamelan Genta Kencana Kendal Burk, Ariana Gibbaro, I Made Lasmawan,* Nathan Lee, Emmie Matzuno, Lauren Mola, Angelina Nguyen, Mary Provosty, Andrew Schmidt, Chris Vicharelli

Gamelan Tunjung Sari and Gamelan Santi Suara were imported from Bali in 1992 by Victoria Lindsay Levine with the assistance of and David Harnish. I Made Lasmawan joined our faculty as gamelan director in January 1993, and he has team-taught the Indonesian performing arts program with Levine ever since. Gamelan Tunjung Sari and Gamelan Santi Suara are undergraduate music and dance ensembles; we have performed throughout the Rocky Mountain region and in Bali. The name Tunjung Sari means “Lotus Blossom” or water lily, referring to the beautiful flowers that bloom in shallow water; Santi Suara translates as “Peaceful Sound.”

Members of Gamelan Tunjung Sari Zachary Bellows, Max Bendes, Junmin Cho, Ravi Kiran Donepudi, I Nyoman Tangkas Aji Guyasa, Tara Hatfield, I Putu Tangkas Hiranmayena, Harriet Jacobs, Allison Joyce, Sean Kwo, I Made Lasmawan,* Victoria Lindsay Levine,* Ni Ketut Marni,* Tess Mitzner, Alex Norrod, Andrew Pope, Benjamin Polach, Blake Reichert, Connor Rice, I Made Tangkas Ade Wijaya, Andy Wowor,* Tyler Yamin, Shanchuan Yin

The Bowed Piano Ensemble, founded by Stephen Scott in 1977, is a world-renowned group of ten student, faculty, and staff musicians who explore the leading edge of performance with sounds made directly on the strings of a grand piano using nylon or paper bows, plectra, mallets, and other implements. The result is an orchestral array of tone colors, harmonies, and rhythms. The Bowed Piano Ensemble has performed throughout North America, Europe, and Australia in venues such as the Sydney Opera House and Lincoln Center, among others. The group has produced five recordings and has appeared on national television and radio broadcasts in the United States, Europe, Australia, and New Zealand. A documentary about the group, Beyond the Keyboard, was made by the London filmmaker Peter Savage.

Members of the Bowed Piano Ensemble Trisha Andrews, Zachary Bellows, Drew Campbell, Neil Hesse,* Andrew Pope, Connor Rice, Saraiya Ruano, Stephen Scott,* Sylvie Scowcroft, Hadar Zeigerson

Gamelan Tunas Mekar, celebrating its twenty-fifth anniversary, is a community orchestra based in Denver. The group was founded in 1988 under the tutelage of Wayne Vitale, a well-known figure in . The group’s first Balinese teacher, I Ketut Madri, provided the name Tunas Mekar, which loosely translated means “a seed puts forth,” referring to the idea that a wayward seed, blown far from the parent plant and landing on unfamiliar soil, nonetheless produces an amazing flower. In 1992, I Made Lasmawan joined the group as master drummer and artist-in-residence. Tunas Mekar performs at music festivals, schools, private events, and public concerts both nationally and internationally. In 1996, the governor of Bali invited the group to perform at the eighteenth annual Bali Arts Festival in Denpasar. Tunas Mekar thus became only the second American gamelan ever accorded this honor. The group has produced three recordings.

Members of Gamelan Tunas Mekar Frankie Anderson, Merissa Bissinger, Kendal Burk, Aaron Burris-Deboskey, Karen Burton, Aleanna Collins, Jon Ellison, Meta Ellison, Miranda Fan, Michael Fitts, Jill Fredericksen, I Nyoman Tangkas Aji Guyasa, Jordan Hayes, Tara Hatfield, I Putu Tangkas Hiranmayena, Adrienne Kerr, Sean Kwo, I Made Lasmawan,* Ni Ketut Marni,* Carolyn Oakley, Dane Terry, I Made Tangkas Ade Wijaya, Brent Wollman

Gamelan Krama Bali brings together our Balinese guest artists from throughout the United States, along with CC gamelan alumni and friends, to perform the grand finale of today’s twentieth anniversary celebration.

Sources Cited Dibia, I Wayan and Rucina Ballinger. 2004. Balinese Dance, Drama, and Music: A Guide to the Performing Arts of Bali. Singapore: Periplus Editions.

Tenzer, Michael. 2000. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music. Chicago and London: The University of Chicago Press.

MEET THE ARTISTS I Ketut Gede Asnawa is a composer, performer, and scholar from Bali, Indonesia. He has taught at the government-sponsored secondary- and tertiary- level conservatories of Balinese music since 1980. His compositions have been featured at the Festival of Young Composers in Jakarta and the annual Bali Arts Festival. Recently, his importance as a cutting-edge composer and innovator in Balinese music was recognized in Grove Music Online. Asnawa has performed throughout Europe, Asia, and the United States. He has taught gamelan at the University of Maryland Baltimore County (where he earned the M.A. in Ethnomusicology), Université de Montréal, Eastman School of Music, and University of Missouri-Kansas City. In 2006, Asnawa joined the faculty of the School of Music at the University of Illinois at Urbana-Champaign.

Lisa Gold holds the Ph.D. in Ethnomusicology from the University of California at Berkeley. Her research interests include Balinese and Javanese music in ritual and theater, gamelan gender wayang, shadow puppetry, folklore and folk music of the British Isles, oral performance, improvisation, sound studies, music, place, and spatial orientation, and transmission and performance eco-systems. Gold has performed and conducted extensive research in Bali and the United States and is the author of Music in Bali: Experiencing Music, Expressing Culture (2005). She is a member of Gamelan Sari Raras, Gamelan Sekar Jaya, and ShadowLight. Gold teaches at the University of California at Berkeley, assists in the Balinese gamelan program there, and has taught at Colorado College, San Francisco Conservatory of Music, and California State University-San Jose.

David Harnish is Professor and Chair of the Music Department at the University of San Diego. He is the author, co- author, or editor of numerous publications, including Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival (University of Hawaii Press) and Divine Inspirations: Music and Islam in Indonesia (Oxford University Press). He has served as a Fulbright and National Foundation Scholar and has been a consultant for the British Broadcasting Company, National Geographic, and the Smithsonian Institution, among others. As a performer, Harnish has recorded Indonesian, jazz, Indian, and Tejano musics with five different labels. He directs Gamelan Gunung Mas at the University of San Diego and serves as academic liaison for the Kyoto Prize Symposium.

I Putu Tangkas Adi Hiranmayena was born in Java but grew up in Colorado Springs, where he received his primary and secondary education and earned the B.A. in Visual and Performing Arts at the University of Colorado in Colorado Springs. He has studied Balinese gamelan and dance throughout his life with his parents, I Made Lasmawan and Ni Ketut Marni. Hiranmayena currently teaches gamelan at the Museum School of San Diego and assists Dr. Alex Khalil in cognitive research. Hiranmayena will begin graduate work in ethnomusicology and experimental performance this fall at the University of California at San Diego.

I Gusti Ngurah Kertayuda was born in Kerambitan, Bali, and graduated from Bali’s Conservatory of Traditional Performing Arts in 1973, having majored in gamelan performance and dance. He taught Indonesian music and dance in Jakarta, Java from 1975 until 1989. Kertayuda performs throughout the United States and internationally. He currently serves as a cultural attaché at the Consulate General of the Republic of Indonesia in Chicago.

I Made Lasmawan* was born in Bangah, Bali, where he made his concert debut as a drummer at the age of eight. In 1977, he graduated from Bali’s Conservatory of Traditional Performing Arts, having studied with the master drummers I Gede Manik, I Wayan Berata, I Gusti Ketut Sedahan, and I Wayan Nedeh. He taught and performed gamelan throughout Bali, Asia, and Europe before attending the Indonesian College of Traditional Performing Arts (, Java), where he graduated in 1983. He taught there until 1990, when he took a faculty position in San Diego. Since moving to Colorado in 1993, Lasmawan has directed Colorado College’s Gamelan Tunjung Sari as well as Gamelan Tunas Mekar (Denver), Gamelan Candra Wyoga (University of Wyoming), Gamelan Genta Kencana (University of Colorado at Boulder), and Gamelan Manik Kusuma (Metropolitan State University of Denver). Lasmawan also performs with other gamelan throughout the United States.

Victoria Lindsay Levine* was born in Los Altos, California, where she began learning to play the piano at the age of eight. She earned Bachelor’s and Master’s degrees in music and anthropology at San Francisco State University, where she studied Balinese gamelan with I Wayan Sinti. She took the Ph.D. in ethnomusicology at the University of Illinois at Urbana-Champaign under the direction of Bruno Nettl. A specialist in Native American music and musicians, Levine is the author, co-author, or editor of many publications, including three books. She has received fellowships, grants, and awards from the American Council of Learned Societies, the National Endowment for the Humanities, and the Society for Ethnomusicology, among others. Levine joined the faculty of Colorado College in 1988; she currently serves as the Christine S. Johnson Professor of Music. She has performed with Gamelan Tunjung Sari since 1993.

Elizabeth McLean Macy earned the B.A. in music (2000) at Colorado College, where she first learned about Balinese musical culture through courses she took with Victoria Levine and Made Lasmawan and by playing in Gamelan Tunjung Sari. She went on to take the Ph.D. in ethnomusicology at the University of California at Los Angeles; her doctoral dissertation examined the function of music tourism in post-disaster economies, particularly in the recovery and rebuilding of New Orleans after Hurricane Katrina and of Bali after the terrorist bombings in 2002 and 2005. Macy has taught at Colorado College and at the California Institute of the Arts. She currently teaches classes on the Music of Southeast Asia, Blues, Music Cultures, and Global Pop at UCLA and Chapman University.

Ni Ketut Marni* was born in Singapadu, Bali to a family of traditional dancers; she began learning to dance as a young child. In 1994, she graduated from Bali’s Conservatory of Traditional Performing Arts and went on to perform with Sanggar Warini throughout Indonesia as well as in Taiwan, Japan, and the United States. She married Lasmawan in 1997 and moved to Colorado Springs; she teaches Balinese dance at Colorado College and at a private dance studio in Denver. She performs regularly with Gamelan Tunjung Sari, Gamelan Tunas Mekar, Gamelan Candra Wyoga, Gamelan Genta Kencana, Gamelan Manik Kusuma, and with other groups throughout the United States.

Kompiang Metri-Davies is a musician, composer, dancer, choreographer, and teacher, having begun to dance at the age of five in her home village of Ngis, Bali. She moved to the United States in 1992, where she performed as a musician and lead dancer with Gamelan Sekar Jaya (Berkeley, California) for ten years before forming her own company, Gadung Kasturi Balinese Dance and Music, Inc. She has appeared in several cross-cultural, multi-media collaborations, and in 1999, she was a finalist for the Isadora Duncan Dance Award for both individual and ensemble performance. Metri-Davies performs regularly in the San Francisco Bay Area and throughout North America. She teaches at workshops and camps in the Bay Area and offers weekly classes in San Francisco. Her most recent music and dance composition, “Nyapuh Jagat,” was featured at the 2012 San Francisco Ethnic Dance Festival.

I Nyoman Saptanyana began playing gamelan at the age of seven with his neighborhood ensemble in the village of Ubud. He earned a Bachelor of Arts in music at the Indonesian National Conservatory in 1989 and went on to lead Gamelan Sadha Budaya in Ubud from 1986 until 2000. He also directed Gamelan Kumara Sari during this time, leading the children’s ensemble to victory in the 1999 gamelan gong kebyar competition at the island-wide Bali Arts Festival. Saptanyana has performed throughout Asia and Europe. Since 2001, he has served on the staff of the Consulate General of the Republic of Indonesia in New York City, where he teaches Balinese gamelan.

Stephen Scott* was born in Corvallis, Oregon. His early studies of music included the recorder, clarinet, and saxophone; he also transcribed jazz recordings during his high school years. He went on to study composition with Homer Keller at the University of Oregon and Gerald Shapiro at Brown University. While learning music in Ghana, Scott met and studied composition with Steve Reich, and later collaborated with Terry Riley; these two composers became his major influences, other than jazz. Scott is Professor of Music at Colorado College, where he teaches experimental music, jazz history, and directs the Bowed Piano Ensemble. He has served as a visiting composer at universities, festivals, and conservatories in the United States and abroad and has received numerous awards; in 2008, he was named as a Simon Fellow by United States Artists. He performs internationally with the Bowed Piano Ensemble.

I Nyoman Suadin, from Tabanan, Bali, is a musician, composer, dancer, puppeteer, and teacher. He discovered music and dance as a young child by watching his father participate in the village gamelan and by playing in a children’s gamelan. Suadin later received formal training at Bali’s Conservatory of Traditional Performing Arts. He has traveled throughout the United States performing with gamelan ensembles since 1988. He currently teaches at Bard College, Eastman School of Music, Swarthmore College, and the University of Maryland. He is the founder and artistic director of Gamelan Mitra Kusuma in Maryland.

Ni Putu Suartini was born in Denpasar, Bali, and began learning to dance as a young child. Her teachers included Ibu Alit Arini, Ibu Desak Rai, and Ni Ketut Marni. She has performed throughout Bali, Java, and the United States. A resident of Denver, Colorado, Suartini often performs with Gamelan Tunjung Sari.

I Wayan Susila was born in Batulantang, Bali. He began studying Balinese dance as a child, in addition to learning Pencak Silat, an Indonesian martial arts tradition that shares many attributes with dance. In 1979, Susila came to the United States, where he continued to study Balinese dance at the California Institute of the Arts under the tutelage of I Nyoman Wenten. Susila has also studied under several other prominent teachers. His specialty is the Barong Dance, but he is also a master of Topeng Pajegan, a masked dance drama in which one dancer performs several different characters in succession. Susila has performed throughout the United States and Mexico. A deeply spiritual man, he has been ordained as a priest within the Balinese religion and he serves the Indonesian community of Los Angeles in this capacity.

I Nyoman Wenten is one of Bali’s most accomplished, versatile dancers and musicians and is renowned as a teacher, performer, and composer. Born into a family with a long tradition in the arts, he first studied with his grandfather, a master shadow puppeteer, musician, and dancer. He went on to study at Bali’s Conservatory of Traditional Performing Arts before attending the National Dance and Music Academy in Jogyakarta, Java. He holds an M.F.A. from the California Institute of the Arts and a Ph.D. in ethnomusicology from the University of California at Los Angeles. Wenten is known not only for traditional music and dance but also for his numerous intercultural collaborations with musicians, composers, dancers, and choreographers such as Elaine Barkin and Morton Subotnick, among others. He has performed internationally and produced numerous recordings. He serves on the faculty of the Herb Alpert School of Music, California Institute of the Arts.

Siti Nartani Wenten was born in Jogyakarta, Java, into a family of musicians and dancers. She began her training in Javanese dance as a child at the esteemed Pakualaman and Kepatihan courts. She continued her training at Gajah Mada University before enrolling at the National Dance Academy of Indonesia. While excelling in Javanese dance, she also began to learn Balinese dance and became known as the only Javanese to perform leading roles in a Balinese dance company. Nanik has performed internationally. Also a choreographer, she incorporates both Javanese and Balinese movements into her compositions, as well as ballet and modern dance, which she studied at the California Institute of the Arts. She has participated in intercultural collaborations with composers such as Morton Subotnick as well as with video artists and filmmakers. She serves on the faculty of the Herb Alpert School of Music, California Institute of the Arts.

UPCOMING EVENTS IN THE CC MUSIC DEPARTMENT Unless otherwise noted, all concerts are in Packard Hall, are free, and open to the public

For the most current information, please check the events website: http://www.coloradocollege.edu/newsevents/calendar/

Honors Concert Sunday, May 5 ~ 3:00 PM

Faculty Recital Frank Shelton, organ Monday, May 6 ~ 7:30 PM SHOVE CHAPEL

Chamber Orchestra Daniel Brink, director Tuesday, May 7 ~ 7:30 PM

Music at Midday Wednesday, May 8 ~ 12:15 PM

CC Student Clarinet Summit Wednesday, May 8 ~ 7:30 PM

Chamber Chorus and Collegium Musicum Deborah Teske and Nancy Ekberg, directors Friday, May 10 ~ 7:30 PM

Faculty Recital Daniel Fosha, tenor Jennifer DeDominici, mezzo-soprano Susan Grace, piano Sunday, May 12 ~ 3:00 PM

SUMMER MUSIC FESTIVAL CONCERTS BEGIN JUNE 6 For more information, visit: www.coloradocollege.edu/musicfestival Unless otherwise indicated, tickets are required ~ at the Worner Desk, TicketsWest, and www.ticketswest.com. Call 719-389-6552 for more information.