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Ramayana Revival in 1994, I Got the Idea of Writing a Piece for Understanding Sita in the 21St Century a Chromatically Tuned Gamelan

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Ramayana Revival in 1994, I Got the Idea of Writing a Piece for Understanding Sita in the 21St Century a Chromatically Tuned Gamelan !"#$% globalisation by ch loh How did you set up Multifoon, and what kind of challenges did you face? Ramayana revival In 1994, I got the idea of writing a piece for Understanding Sita in the 21st century a chromatically tuned gamelan. I was then very active playing gamelan in different formations. In my own Balinese gamelan 2007 WAS QUITE a year for the At age ten, Wullur moved from her group, Irama, I played the gender wayang Ramayana, its heroine Sita in particular. hometown Bandung to settle in Holland and the gong kebyar style. I was part of By some sheer cosmic alliance, KL had its in 1968, and in her formative years there the Javanese gamelan group Widosari as Ramayana revival with Adeline Wong’s studied gamelan music and composition a singer and gamelan player. I also played Empunya Yang Beroleh Sita Dewi, while with teachers like Ton de Leeuw and Louis in ensemble Gending, which performed across the globe in Holland, Indonesian Andriessen. She returned for a few months contemporary compositions written for the composer Sinta Wullur staged her to study gamelan and singing with a few Javanese gamelan. gamelan opera Sita’s Liberation with teachers in Bali and Java. Upon her return As a composer, I had composed several her experimental group Ensemble she founded several gamelan groups in works that were based on gamelan ideas Multifoon. At roughly the same space- Holland, in particular the contemporary and structures. In my creation process time-continuum, Yii Kah Hoe was also gamelan group, Ensemble Multifoon. I felt the need for a gamelan orchestra commissioned to write his own wayang that can perform the pitches I use in my kulit epic for Chinese orchestra. What challenges do you face writing for compositions. I am used to working with Wullur’s Sita is special, as it brings the Western music for gamelan and Western combinations of modes, and I like to have gamelan-wayang kulit tradition into the ensemble? modulations in a composition. I loved the 21st century in a truly global manner. The When one writes Western music for gamelan instruments, but felt limited by epic, which had its hold over the entire gamelan and Western ensemble in general, their possibility to produce only five to South and East Asian culture for centuries, you have to find gamelan players who seven notes because of their basic slendro is finally taking on the world. Performed by are able to perform Western music, and and pelog scale. a Western, fully-trained gamelan orchestra musicians on Western instruments who With this idea, I contacted Pak Suhirdjan with additional percussion, string quartet are able to retune their instruments to in Yogya, who was enthusiastic. I sent him and bass clarinet, a chorus and two soloists, the specific tuning of the gamelan. With twelve tuning forks with the pitches of complete with wayang kulit and dancers, Ensemble Multifoon and the chromatically the twelve tones of the equally tempered this is serious opera crafted out of the tuned gamelan on which they play, the chromatic scale. The design was drawn ancient Ramayana performance aesthetics as tuning is no longer a problem – players in based on the design of the marimba and well as Western classical models – a brilliant Multifoon are percussion players who are vibraphone. The pitches from the ‘black marriage of two cultures, no less beautiful familiar with playing gamelan instruments. keys’ of the piano are separated from the for its mixed blood, as Wullur once said. pitches from the ‘white keys’. 70 APR2008 1 2 Main picture Sita’s Liberation 1 & 3 Scenes from the production 2 Sinta with music that is a crossover between the Wullur gamelan accompaniment of wayang kulit and dramatic Western music, could be the lifework I had always wanted to make, especially when a choir is involved that performs a sort of kecak music. In 1997, I already made a composition for choir using the kecak mixed with a Western choir idiom. In 2001 and 2003, works in progress were made before the opera was perfomed with wayang kulit in 2007. I am lucky that I have a very good writer for the libretto. Paul Goodman is a Canadian 3 poet and musician who lives in Holland. He made a beautiful libretto, which fits very well in my music. In the opera, the chromatic gamelan was combined with The idea and the music performed on the On the flipside, is the contemporary string quartet, percussion and bass clarinet. chromatic gamelan have been well received. work of Multifoon strange in Indonesia? The solo singers were a soprano for the role Musicians and the public are always It depends which type of music Multifoon of Sita, and a tenor as the narrator, together enthusiastic about it. plays. The atonal contemporary with the choir. Because of the narrations compositions made by the modern from the tenor and choir, the form of the How popular is gamelan today still, in composers will be well received by the opera is comparable to an oratorium like Holland, and in Europe in general? Why contemporary music lovers, maybe not Bach’s St Mattheus Passion. The opera was are they still so fascinated by it? by the general public. The general public staged with wayang kulit projected onto a The gamelan is popular in Holland and of Indonesia will love the more tonal large screen combined with dancers and the Europe, and it is becoming more and more music played on the chromatically tuned acting singer in front of the screen. popular in general. In the West, there is a gamelan, especially the creative new fusion tendency to appreciate music from other compositions. I can imagine that people What drove your choice of story? cultures as an alternative to classical and from the city who have had lessons in I chose the Ramayana because of the modern music. Together with the growth the Western classical music tradition will monkey chant that I wanted to use with my of world music, gamelan music gains like this crossover between gamelan and kecak choir. And also because among the more attention from the public and music Western music tradition. traditional Indonesian stories, the Ramayana organisations. The serene and noble sounds is one of the most dramatic stories which of the Javanese gamelan or the hectic How did the idea for the opera Sita’s adapts very well as an opera. There is a and energetic percussive sounds from the Liberation come about? dramatic line that builds up in tension and Balinese gamelan awake a special experience The idea to write a gamelan opera came in there is a catharsis at the end. in their public and in the players. 2001 when the Concertgebouw orchestra The emotions in this story are universal: Gamelan is not strange anymore; many had finally completed the chromatic there is the happiness of the wedding of travellers to Indonesia have heard them. gamelan instruments with twelve gongs, Rama and Sita; there is the excitement Because of Holland’s history with Indonesia, genders (a xylophone-like instrument when the golden deer appears and when Sita there are many Dutch people who have a made of metal bars), bonang panerus and sends Rama to hunt after the deer; there is connection with Indonesian culture. kenongs. I imagined that a fusion between a Western opera and wayang kulit theatre, CONTINUES ON NEXT PAGE APR2008 71 !"#$% review by ch loh CONTINUED FROM PREVIOUS PAGE Return to anxiety when Sita is left alone in the woods; there is sorrow when she regrets that she has sent Laksamana away and called him a coward; there is the tension of war and fight between Rama and innocence Rahwana. and, of course, happiness again when Sita is liberated. Polish ultra-modernist composer Krzysztof These emotions are recognisable to everyone. Penderecki goes back to the basics What is your take on the ending, though? I notice that in your version, Sita passes the test of fire. As far as I know, IN THE HEYDAY of the the original Ramayana had a very bleak ending for Sita. European avant-garde, In the original Ramayana, there are several endings. Sita passes Krzysztof Penderecki stunned the test of fire directly after her liberation. But when she was back the classical-going public in Ayodhya and she was pregnant, people started to talk about with his musical kamikaze: her, suggesting she was pregnant before Rama liberated her. That his Threnody for the Victims was the reason that Rama sent Sita away; he couldn’t bear being of Hiroshima used every humiliated by his own people. method of producing sound I had chosen, for the opera’s form, [the concept] ‘Ramayana from the violin that was ever through flashbacks’, as experienced from Sita’s point of view. I thought possible, and then try to identify with Sita’s role as a woman. Then I found out that some, producing eerie screams she is treated very badly in the story. After being imprisoned for and scrapes of string sounds fourteen years she still has to risk her life by undergoing the test never before heard with such by fire. Despite her faithfulness to Rama, she is sent away while audacity. The piece truly The composer pregnant. These facts reveal [discrimination] by male-dominated emulated the deadly whir of society; I am glad that women are treated better these days. I atom bombs spiralling down towards sleepy Hiroshima and only regret that Rama, a symbol of the Good, actually was cruel the unearthly sounds that must have inhabited the devastated towards his beloved wife.
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