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Gamelan(Ing) in Scotland and Hawai‘I

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Gamelan(Ing) in Scotland and Hawai‘I LOCATING AFFINITY AND MAKING MEANING: GAMELAN(ING) IN SCOTLAND AND HAWAI‘I A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC MAY, 2018 By Heather A. Strohschein Dissertation Committee: Ricardo Trimillos, Chairperson Frederick Lau Byong Won Lee Barbara Andaya Markus Wessendorf Acknowledgements I would first like to thank two generous funding opportunites offered through the University of Hawai‘i at Mānoa: the Heidi Student Assistance Fund in Music, and the Arts and Sciences Student Research Award. These funds provided support for fieldwork travel. I owe many people a great deal of thanks for their help with and support of my fieldwork and research. Ian Ritchie and Eona Craig, thank you for taking time from your busy schedules to explain the intricate logistics of welcoming a Javanese gamelan to Glasgow. Thank you, as well, to the secretarial staff of the Scottish Chamber Orchestra for opening your archives to me. To all the members, past and present, of Naga Mas and the UH Javanese Gamelan Ensemble, I cannot thank you enough for welcoming me into your communities, for your gracious patience with my endless questions, and for your thoughts and knowledge about gamelan. To Theodora Bayly, Mark Carlin, Jamie Dunnett, Signy Jakobsdottir, Jon Keliehor, Gordon MacKinnon, Sophie Pragnell, Katherine Waumsley, Neil Wells, and Bill Whitmer, thank you for sharing thoughts, experiences, and cups of tea. My special thanks to Jena Thomson, Margaret Smith, and J. Simon van der Walt for sharing your homes and your insights during my stay in Scotland. I will be back again. The members of the UHJGE helped make Hawai‘i a home for me. I am particularly grateful to Pak Hardja Susilo for his patience and depth of knowledge, qualities he worked very hard to instill in generations of students. To Amit Chaturvedi, Nancy Cooper, Reed Dasenbrock, Thelma Diercks, Joan Doike, Gary Dunn, Robert Herr, Michiko Ueno-Herr, Wendell Ishii, Barbara Polk, Bill Remus, R. Anderson Sutton, and Daniel Tschudi, thank you for teaching me how to be a gamelan musician. I am especially grateful to Byron Moon and Pattie Dunn for their constant encouragement and direction. i Mahalo nui loa to friends and classmates in Hawai‘i, especially Beth Boisvert, Anjelica Corbett, Froilan Fabro, Chadwick Pang, Yejin Park, and Yang Xi. Special thanks to Justin Hunter and Larry Oliver Catungal. Although we neither started nor ended together, your constant support along with our long discussions and energetic debates have guided my work as a scholar and a teacher. There are many professors at UHM, in and out of ethnomusicology, who guided my studies. I am especially appreciative of Frederick Lau, Byong Won Lee, Jane Moulin, Kate McQuiston, Lesley Wright, Patricio Abinales, Barbara Andaya, David Hanlon, and Markus Wessendorf. Thank you for constantly challenging me to be a more thoughtful scholar. Thank you as well to Barbara Smith. As the keen eye and warm heart of the ethnomusicology area, you provide a wonderful example of what I hope to be. David Harnish and Steven Cornelius were the first ethnomusicology professors I met when I began my academic journey. I am forever indebted to you both for introducing me to the field, providing constant encouragement, and pushing me to test my limits, leave my comfort zone, and question everything. Thank you, David, for making me play sangsih my first semester of Balinese gamelan. I am incredibly grateful for Ricardo Trimillos who agreed to guide and mentor me following his retirement. Thank you, Ric, for your thoughtful and difficult questions. Your acute insight has strengthened my work and challenged my ideas. I hope one day my students will speak of me with as much love and respect as yours speak of you. From a very young age, my mother and father encouraged my voracious reading and insatiable curiosity. Thank you, Mom and Dad, for always believing in me. Hilary Strohschein, ii my friend and sister, thank you for always knowing just what to say. You all have been a constant source of support and encouragement, more than you will ever know. I dedicate this dissertation to my husband, Daniel H. Schellhas. Dan, you have been my rock. My travels took me far away for long periods of time, but your belief and faith in me has never waivered. Your willingness to play devil’s advocate has helped me identify my own assumptions and biases and strengthened me as a student, scholar, and a teacher. I would not be where or who I am today without your love and support. This is only the beginning, and I look forward to a lifetime of travel and music with you. iii Abstract This dissertation explores the potential of affinity through close work with two community gamelan ensembles: Naga Mas in Glasgow, Scotland and the University of Hawai‘i at Mānoa’s Javanese Gamelan Ensemble (UHJGE) in Honolulu, Hawai‘i. Through ethnographic fieldwork and musical analysis, I offer a detailed examination of how people in Western countries create new contexts for Javanese gamelan by incorporating it into their life stories— narratives individuals tell about themselves to explain personal values and motivations. It is through life stories that gamelan members construct systems of coherence, varied connections that make their involvement in—and indeed, the very fact of—gamelan outside of Indonesia make sense. These filaments of coherence bind together to present a more nuanced interpretation of affinity. Community groups like Naga Mas and the UHJGE have been overlooked in ethnomusicological scholarship in part because of their designation as affinity communities. I argue for a reexamination of this term as it has been inadequately defined and not given as much attention as other categorizations of community. Without theorizing affinity communities, we lose out on understanding how these groups of individuals function, how they perceive authenticity, appropriation, and agency in the 21st century, and where true affinity and community lie. Because Mark Slobin’s definition of affinity intercultures has become the standard within ethnomusicological and cultural scholarship, many scholars do not investigate beyond surface understanding of the term affinity. Likewise, a constructed ethnomusicological gamelan grand narrative has historically discouraged scholarly interest in these groups. Close work with current and former members of Naga Mas and the UHJGE reveals, however, various dimensions of iv affinity—much more than choice and desire assumed by previous research—as well as a rich, mostly untapped fount of music, behaviors, histories, and idea(l)s contributing to the global gamelan culture. I ultimately propose my own, expanded definition of affinity community and create a framework which includes and outlines the numerous and expandable dimensions of affinity. v Table of Contents Acknowledgements ......................................................................................................................... i Abstract ......................................................................................................................................... iv List of Tables ..................................................................................................................................x List of Figures ............................................................................................................................... xi Style Conventions ....................................................................................................................... xiii Preface: My Journey to Gamelan ..................................................................................................xv Chapter 1: Background, Methodologies, and Theoretical Models .................................................1 Introduction .........................................................................................................................1 Ethnographic Vignette: Honolulu ...........................................................................4 Ethnographic Vignette: Glasgow ............................................................................5 Contextualizing Performance ..............................................................................................7 Community Gamelans Outside of Indonesia ......................................................................8 Multi-Sited Ethnography: Methodologies and Two Gamelans ........................................12 Affinity and Life Stories: Theoretical Models ..................................................................17 Life Stories, Identity, and the Creation of Coherence ..........................................19 The Performance of Gamelan in Everyday Life ...................................................22 Field Research Methodology ............................................................................................24 Chapter Summary .............................................................................................................27 Chapter 2: Misconceptions and Happenings .................................................................................30 Introduction .......................................................................................................................30 A Gamelan Grand Narrative .............................................................................................31 Issues of Power
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