A House in Bali
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Interpreting Balinese Culture
Interpreting Balinese Culture: Representation and Identity by Julie A Sumerta A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Arts in Public Issues Anthropology Waterloo, Ontario, Canada, 2011 © Julie A. Sumerta 2011 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. Julie A. Sumerta ii Abstract The representation of Balinese people and culture within scholarship throughout the 20th century and into the most recent 21st century studies is examined. Important questions are considered, such as: What major themes can be found within the literature?; Which scholars have most influenced the discourse?; How has Bali been presented within undergraduate anthropology textbooks, which scholars have been considered; and how have the Balinese been affected by scholarly representation? Consideration is also given to scholars who are Balinese and doing their own research on Bali, an area that has not received much attention. The results of this study indicate that notions of Balinese culture and identity have been largely constructed by “Outsiders”: 14th-19th century European traders and early theorists; Dutch colonizers; other Indonesians; and first and second wave twentieth century scholars, including, to a large degree, anthropologists. Notions of Balinese culture, and of culture itself, have been vigorously critiqued and deconstructed to such an extent that is difficult to determine whether or not the issue of what it is that constitutes Balinese culture has conclusively been answered. -
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Liner Notes to “Bali 1928: Gamelan Gong Kebyar.” World Arbiter 2011 [CD]
CMYK 80785-2 80785-2 WAYNE VITALE & BRIAN BAUMBUSCH (b. 1956) (b. 1987) WAYNE VITALE &WAYNE BRIAN BAUMBUSCH MIKROKOSMA File Under: Classical/ Contemporary/ Vitale–Baumbusch NEW WORLD RECORDS Mikrokosma (2014–15) 51:55 8. VIII. Gineman Out 5:37 (Wayne Vitale & Brian Baumbusch) 9. IX. Pomp Out 3:58 1. I. Feet 1:28 10. X. Selunding Out 3:31 2. II. Selunding 6:28 11. XI. Feet Out 2:45 3. III. Pomp 7:10 The Lightbulb Ensemble, Brian Baumbusch, musical director 4. IV. Gineman 5:23 • MIKROKOSMA 5. V. Dance 3:35 12. Ellipses (2015) 9:27 6. VI. Pencon 8:32 (Brian Baumbusch) Santa Cruz Contemporary Gamelan, 7. VII. Tari 3:28 Brian Baumbusch, musical director TT: 61:31 • MIKROKOSMA NEW WORLD RECORDS New World Records, 20 Jay Street, Suite 1001,Brooklyn, NY112 01 Tel (212) 290-1680 Fax (646) 224-9638 WAYNE VITALE &WAYNE BRIAN BAUMBUSCH [email protected] www.newworldrecords.org ൿ & © 2017 Anthology of Recorded Music, Inc. All rights reserved. Printed in U.S.A. 80785-2 80785-2 CMYK WAYNE VITALE & BRIAN BAUMBUSCH (b. 1956) (b. 1987) MIKROKOSMA WAYNEWAYNE VITALEVITALE&& BRIANBRIAN BAUMBUSCHBAUMBUSCH Mikrokosma (2014–15) 51:55 (Wayne Vitale & Brian Baumbusch) MIKROKOSMA 1. I. Feet 1:28 2. II. Selunding 6:28 3. III. Pomp 7:10 4. IV. Gineman 5:23 5. V. Dance 3:35 6. VI. Pencon 8:32 7. VII. Tari 3:28 8. VIII. Gineman Out 5:37 9. IX. Pomp Out 3:58 10. X. Selunding Out 3:31 11. XI. Feet Out 2:45 The Lightbulb Ensemble, Brian Baumbusch, musical director 12. -
Gamelan Gender Wayang of Bali: Form and Style
..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan. -
THE BALINESE COSMOS M a R G a R Et M E a D ' S B a L in E S E : T H E F Itting S Y M B O Ls O F T H E a M E R Ic a N D R E a M 1
THE BALINESE COSMOS M a r g a r et M e a d ' s B a l in e s e : T h e F itting S y m b o ls o f t h e A m e r ic a n D r e a m 1 Tessel Pollmann Bali celebrates its day of consecrated silence. It is Nyepi, New Year. It is 1936. Nothing disturbs the peace of the rice-fields; on this day, according to Balinese adat, everybody has to stay in his compound. On the asphalt road only a patrol is visible—Balinese men watching the silence. And then—unexpected—the silence is broken. The thundering noise of an engine is heard. It is the sound of a motorcar. The alarmed patrollers stop the car. The driver talks to them. They shrink back: the driver has told them that he works for the KPM. The men realize that they are powerless. What can they do against the *1 want to express my gratitude to Dr. Henk Schulte Nordholt (University of Amsterdam) who assisted me throughout the research and the writing of this article. The interviews on Bali were made possible by Geoffrey Robinson who gave me in Bali every conceivable assistance of a scholarly and practical kind. The assistance of the staff of Olin Libary, Cornell University was invaluable. For this article I used the following general sources: Gregory Bateson and Margaret Mead, Balinese Character: A Photographic Analysis (New York: New York Academy of Sciences, 1942); Geoffrey Gorer, Bali and Angkor, A 1930's Trip Looking at Life and Death (Singapore: Oxford University Press, 1987); Jane Howard, Margaret Mead, a Life (New York: Simon and Schuster, 1984); Colin McPhee, A House in Bali (Oxford: Oxford University Press, 1979; orig. -
Walter Spies, Tourist Art and Balinese Art in Jnter-War .Colonial Bali
Walter Spies, tourist art and Balinese art in inter-war colonial Bali GREEN, Geff <http://orcid.org/0000-0002-2482-5256> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/9167/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/9167/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. i_caniuiy anu11 services Adsetts Centre City Campus Sheffield S1 1WB 101 708 537 4 Return to Learning Centre of issue Fines are charged at 50p per REFERENCE ProQuest Number: 10697024 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10697024 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. -
Evan Ziporyn Animal Act
NWCR645 Evan Ziporyn Animal Act Evan Ziporyn Animal Act 1. What She Saw There (1988) ................................ (12:44) Evan Ziporyn, bass clarinet; Danny Tunick and William Winant, marimba. 2. Tree Frog (1990) ................................................. (24:30) John Halle, keyboard; Mark Hetzler, trombone; Rob McEwan, percussion; Mark Messier, baritone saxophone; Woodrow Pak, guitar; David Santucci, violin; Evan Ziporyn, bass clarinet. 3. Waiting by the Phone (1987) ............................... (12:02) Evan Ziporyn, bass clarinet. 4. Walk the Dog (1991) ........................................... (24:55) Evan Ziporyn, clarinet; Ted Kuhn, sound synthesis. Total playing time: 74:25 Ê& © 1993 Composers Recordings, Inc. © 2007 Anthology of Recorded Music, Inc. Notes As the world collapses into a global village, and technology Western sources carefully, his use of them amounts to what offers composers and listeners an ever-expanding menu of the literary critic Harold Bloom might call a willful diverse musical traditions, the idea of “world music”—with misreading: The falsifying and transmutation that are its promises of broken stylistic barriers and leveled unavoidable anyway become the music’s source of artistic hierarchies—begins to take on an air of delicious inevitability. strength. Ziporyn’s distinctively far-reaching style constitutes Evan Ziporyn’s music testifies to the artistic richness of that a vibrant celebration of the fact that music is not a universal prospect. language. Born in Evanston, Illinois, in 1959, Ziporyn has the Nowhere is Ziporyn’s exploration of the gaps in musical credentials of a more conventional composer: he studied understanding more evocative than in What She Saw There, a music at Eastman, Yale, and the University of California at bass clarinet monologue backed by the dappled chiming of Berkeley, and now teaches composition at M.I.T. -
Cross-Cultural Hybridity in Music Composition: Southeast Asia in Three Works from America Written 1998, Unpublished Christopher Adler
Cross-cultural hybridity in music composition: Southeast Asia in three works from America written 1998, unpublished Christopher Adler The act of composing is an engagement with hybridity. Every composer must mediate between the diverse influences, intentions, theories, and emotions impinging upon the compositional moment. For some composers these mediations may be relegated to the subconscious, for some they may be considerations of fine distinctions that come into play only at the level of detail. The compositions discussed in this article, Spiral, by Chinary Ung, Banyuari, by Michael Tenzer, and Aneh Tapi Nyata, by Evan Ziporyn, inhabit different hybrid realms between multiple categories of music, including: Euro-American contemporary concert music, popular musics, Balinese gamelan, Khmer classical music, and beyond, and as a result illustrate very different approaches to musical hybridization. The hybridity of these works is foregrounded by the composers’ decisions to compose between prior musical categories. The intentional, self-conscious cross-cultural hybrid has a long history within the Euro-American classical tradition, with such composers as Olivier Messiaen, John Cage, Colin McPhee and Lou Harrison, to name a few from this century. The intentional cross- cultural hybrid takes on an increasing significance in Euro-American contemporary music in this postmodern era of rapidly globalizing artistic, culture and commodity flows, where many composers are exposed to musicians, artists, recordings and ethnomusicological documentation of musics from the most distant corners of the world. While hybridity may be fundamental to musics everywhere, this exposure to global diversity is often dependent upon conditions of power and privilege which favor musicians of the urban centers of 2 the West and around the world. -
Evan Ziporyn
DRILL bass clarinet and wind ensemble Evan Ziporyn ©2014 Airplane Ears Music (ASCAP) INSTRUMENTATION (2014 edition) Solo B-flat Bass Clarinet Piccolo 2 Flutes 2 Oboes 3 B-flat Clarinets B-flat Bass Clarinet 2 Bassoons Contrabassoon B-flat Soprano Saxophone E-flat Alto Saxophone B-flat Tenor Saxophone E-flat Baritone Saxophone 4 B-flat Trumpets 4 F French Horns 3 Trombones 1 Bass Trombone 1 Euphonium 1 Tuba 1 Amplified String Bass 3 Percussion 1 Marimba/Xylophone 1 Marimba All ensemble (particularly woodwinds) parts may be doubled, depending on ensemble size and conductor’s discretion. Solo bass clarinet may be lightly amplified for balance. PERCUSSION BATTERY 1: 3 woodblocks (small & medium), bass drum, vibraslap, 4 timpani, 1 small suspended cymbal, 1 medium suspended cymbal (both played with drumsticks), guiro, castanets, claves 2: medium woodblock, floor bass drum, 2 bongos (tuned high), 3 medium congas (or other skin drums), finger cymbals, 2 bongos (tuned high) 3: 2 low temple blocks, 2 low toms, highhat, 2 cowbells, suspended cymbal, tamtam, sleighbells Length: @10 minutes Transposed Score PROGRAM NOTES BY THE COMPOSER The concerto form springs from romanticism: its default metaphor is that of the heroic individual, emerging from and exalted by his fellow man. This is not really my thing, but I do have a strong desire to make music with my wind brethren, to do things on our instruments together. Having taught for over a decade, I am also conscious of the complex ways in which teachers and students relate, and this piece reflects this, at least in my mind. -
Community Gamelan in America: Identifying Best Practices in Ensemble Management
Community Gamelan in America: Identifying Best Practices in Ensemble Management © 2017 Arts Indonesia - Gamelan Dharma Swara This research is supported in part by a grant from the Paul R. Judy Center for Applied Research at the Eastman School of Music Table Of Contents I. Introduction II. Methodology III. Articulation Of Challenges IV. Best Practices V. Recommendations VI. Conclusion VII. Acknowledgements Appendix A: Ensemble Profiles 1. Gamelan Dharma Swara 2. Gamelan Son of Lion 3. Gamelan Sekar Jaya 4. Gamelan Galak Tika 5. Portland Taiko 6. Calpulli Mexican Dance Company 7. Lightbulb Ensemble Appendix B: Gamelan Dharma Swara Vision Statement 1 I. INTRODUCTION The shimmering tones and dense textures of gamelan – the percussive ensembles of metallophones, drums, and gongs found in various forms across Indonesia – have long excited and influenced innovative Western composers, from Debussy and Bartok to Glass, Cage, and Reich. Gamelan’s influence can also be heard in modern electronic and pop music: Bjork commissioned the building of the gameleste, a hybrid between a celesta and a gamelan; and Beck invited Burat Wangi, a gamelan ensemble based at the California Institute of the Arts, to participate in his live version of David Bowie's Sound and Vision. The sounds of gamelan have never been more readily accessible to global listeners as they are today, and while gamelan maintains a vibrant standing in its original context, a strong culture of gamelan has proliferated outside the Indonesian archipelago. In the United States roughly 150 -
Newsletter- Broader Sense It Encompasses Review and Recognized Authority in Bailey, Derek
Vol. 1 Nos. 1-2 Published for the CIMA by the Music Research Institute, Richmond CA USA October 1999 Intercultural Musicology The Bulletin of the Centre for Intercultural Music Arts, London, U.K. CIMA Council of Management Steven Stanton, Chair compositions in which elements of Akin Euba, Director Robert Kwami, Deputy Director non-Western traditional music are Lucy Duran Editorial Note combined with those of Western Maxine Franklin Susan Jackson art music require a scholarly Cynthia Tse Kimberlin approach which integrates John Mayer The aim of Intercultural Musicology techniques of ethnomusicology with Richard Nzerem Malcolm Troup is to provide a forum for discourse that those of historical musicology. Mike Wright includes the development of a theoretical framework for the nascent The editors are particularly International Advisory Council field of intercultural musciology. interested in materials dealing with Charles Camilleri (Malta) S. A. K. Durga (India) interculturalism after 1950 and Samha El-Kholy (Egypt) This field includes the study of (a) welcome contributions that generate Cynthia Tse Kimberlin (USA) one’s own indigenous music culture Fernando Maglia (Argentina) discourse on the concept of Sun Xing-Qun (China) using techniques applicable to other intercultural musicology (e.g., Valerie Ross (Malaysia) music cultures (b) music cultures Klaus Hinrich Stahmer (Germany) research reports, previews and Justinian Tamusuza (Uganda) other than one’s indigenous culture (c) reviews of performances, notes on Mike Wright (U.K.) music created by combining elements the works of composers and from various cultures, and (d) other performers, biographical data on Co-Editors forms of intercultural activity, for Cynthia Tse Kimberlin & Akin Euba composers and performers, example, the study of performers who theoretical concepts bearing upon specialize in non-indigenous music creative methods in intercultural idioms. -
Lost Paradise
The Newsletter | No.61 | Autumn 2012 6 | The Study Lost paradise DUTCH ARTIST, WIllEM GERARD HOFKER (1902-1981), Bali has always been popular with European artists; at the beginning was also found painting in pre-war Bali; he too painted lovely barely-dressed Balinese women. His fellow country- of the previous century they were already enjoying the island’s ancient man, Rudolf Bonnet (1895-1978) produced large drawings, mostly character portraits, in a style resembling Jan Toorop. culture, breathtaking nature and friendly population. In 1932, the aristocratic Walter Spies (1895-1942), a German artist who had moved permanently to Bali in 1925, became known for his mystical Belgian, Jean Le Mayeur (1880-1958), made a home for himself in the tropical and exotic representations of Balinese landscapes. It is clear that the European painters were mainly fascinated paradise; he mainly painted near-nude female dancers and was thus known by the young Balinese beauties, who would pose candidly, and normally bare from the waist up. But other facets of as the ‘Paul Gauguin of Bali’. His colourful impressionist paintings and pastels the island were also appreciated for their beauty, and artists were inspired by tropical landscapes, sawas (rice fields), were sold to American tourists for two or three hundred dollars, which was temples, village scenes and dancers. The Western image of Bali was dominated by the idealisation of its women, a substantial amount at that time. These days, his works are sold for small landscape and exotic nature. fortunes through the international auction houses. Arie Smit and Ubud I visited the Neka Art Museum in the village Ubud, Louis Zweers which is a bubbling hub of Balinese art and culture. -
Packaged for Export 21 February 1984 R Peter Bird Martin Institute of Current World Affairs Whee Lock House 4 West Wheelock Street Hanover NH 08755
INSTITUTE OF CURRENT WORLD AFFAIRS BEB-24 28892 Top of the World Laguna Beach CA 92651 Packaged For Export 21 February 1984 r Peter Bird Martin Institute of Current World Affairs Whee lock House 4 West Wheelock Street Hanover NH 08755 Dear Peter In 1597, eighty-seven years after the Spice Islands were discovered by the Portugese, Dutch ships under the command of Cornelius Houtman dropped anchor near the island of Bali. So warm was the welcome from the local ruler, so abundant the hospitality of the local populace, that many of Houtman's crew refused to leave; it took him two years to round up enough crewmen to sail back to Holland. It took almost another three and a half centuries fo. the rest of the world to make good Houtman's discovery. Today, a bare fifty years since the word got out, Bali suffers from an annual tourist invasion so immense, so rapacious, it threatens the island's traditional culture With complete suffocation. Today, tourist arrivals total around 850,000. By 1986 the numbers are expected to. top 750,000. Not lon afterwards, the Balinese will be playing host to almest a million tourists a year. This on an island of only 5,682 square kilometers" (2,095square miles) with a resident populat$on of almost three million. As Houtman and others found out,_ Bali is unique. I the fifteenth century before the first known Western contact, Bali had been the on-aain, off-again vassal of eastern lava's Majapahit empire. By the sixteenth century, however, Majapahit was decaying and finally fell under the advanci.ng scourge of Islam.