Indonesian Gamelan Music.
Description Choose on of the two options and do some research to expand your general newfound knowledge of chapter 7 material. OPTION #1: History of Kecak There are two issues to address. Clearly answer the following questions: Michael Bakan tells us in the text that Kecak grew out of an ancient trance ritual called Sanghyang Dedari. Provide a brief history and description of Sanghyang Dedari. What is a trance ritual? Define it. Provide an example from another country or culture. Do more than just list the name. Describe the ritual and explain what its purpose is. Kecak is a dynamic and exciting piece of music (and theater) that is usually promoted as ancient and traditional Balinese music. Kecak however, is not an ancient Balinese drama, in fact, it is a much more recent creation. Who was Walter Spies and how does he figure in the history and development of Kecak? What is the typical performance setting for Kecak? (Where is the piece typically performed? How many and what type of performers are there? What kind of people typically attend these performances? How long does a performance of Kecak take?) The following links may be helpful: http://www.indo.com/featured_article/sanghyang.html http://disco.teak.fi/asia/ritual-and-trance-performances/ http://factsanddetails.com/indonesia/Minorities_and_Regions/sub6_3h/entry-4030.html https://ethnomusikologie.kug.ac.at/fileadmin/media/institut-13/Dokumente/Downloads/Stepputat_Walter_Spies_and_the_Kecak.pdf (This is a formal academic journal article by an ethnomusicologist. It is far more in-depth than you’ll need to go but the information is very accurate). https://www.theguardian.com/travel/2011/apr/13/bali-monkey-dance-kecak-indonesia (A travel article from a newspaper but accurate within its superficial depth). http://www.bali-individually.com/news/kecak-dance http://www.thejakartapost.com/news/2014/03/20/kecak-s-origin-the-dance-saved-a-village.html https://baliandbeyond.co.id/article/read/287/The-Evolution-Of-Kecak (This is more of a travel article for tourists, but it is accurate as far as the brief article goes) OPTION #2: Kilitan telu and Balinese society We learned that kilitan telu is the term for the complex patterns of rhythmic interlocking that is present in gamelan music. It is also representative of certain overarching aspects of Balinese society. This is related in part to the unique form of Hinduism (as distinct from the Hinduism found in India) that is practiced by ethnic Balinese. Questions to address: – What is the relationship between kilitan telu (in Balinese gamelan music) and the communal interdependence that Michael Bakan mentions in Chapter 7? – How is it manifested in Balinese society? The following links may be helpful: http://www.seasite.niu.edu/Indonesian/Budaya_Bangsa/Gamelan/Main_Page/main_page.htm#Introduction https://alanjyuworldwide.wordpress.com/research/sources-of-traditional-balinese-social-values/ https://cnx.org/contents/xTcXoUQW@8/Balinese-Gamelan *Don’t forget to look at both the power point presentation, and the power point slides on Indonesian music that are included in the module titled: “Additional chapter material”. This can be found on the CONTENT page.