Fifteen years ago as musician Sapto Raharjo pioneered the international gamelan festival in Jogjakarta,
he sparked many pros and cons. First was that there were many that think the idea was crazy
remembering that the festival started off on a low budget. That means, it would take artists with strong militancy
that were still prepared to fight for gamelan. Second, the decision to perform gamelan beyond the classical
path of course also received critics, moreover the position of the jogjakartan gamelan festival which is
known as the classical Javanese civilization central.
But anything can happen. Sapto along with the Gayam 16 community turned out successful in implementing the
crazy idea since 1995. Even though Sapto has departed 2 years ago, the work unit he established kept performing
the inspirer’s wish to continue flourishing the YGF. All through its 15th event at last 16-18 July 2010, the spirit remains
and grows.
On the first night, Friday (16/7), the YGF event was opened at the Jogjakarta
Cultural Park. That night the space was packed, not only because of the YGF
event, but the 2010 Art Jogja also held its opening that night. But still, that is
how Jogjakarta is, jammed with various artistic activities.
YGF 15 used the main performance room at the TBY Concert Hall with the
opening act: group KPH 10 from USA. The story of Sapto’s “madness” seems to
be an everlasting memory for this group.
As heard from the head of the KPH 10 group, Alex Dea, that witnessed YGF’s
struggle. “I call Sapto a mad man with mad friends. How can people of this era
willing to work with no certain pay, and hold an event with a minimal sponsor?
And why would anyone bother to watch the gamelan, when there are more enjoyable
music such as pop and dangdut? Maybe the gamelan enthusiasts are also
mad,” he smiled as he was about to open the show.
For Alex, YGF has inspired many people on gamelan. YGF’s freedom has given
space on how can be interpreted more, dug more, aside from its classical stream.
“I also came from classical gamelan. Since YGF asked me, I ended up making new
simpler and more minimized composition like the In Pelog work,” he explained.
And Alex Dea with with KPH 10 has really dedicated In Pelog for the last
time in YGF. “This is the last time I’ll be playing In Pelog,
after 10 years of joining YGF. I’ll be preparing a new
work for next year,” claimed the man who promised to
Besides the KPH 10, the first day performance was
also filled with the Orke Star Trio and Ramu Thirruyanam.
The Singaporean group did not use gamelan at
all, however beyond the works those use the western
instruments they also presented a very “Indonesian”
musical atmosphere.
And of course the peak performance of the night was the
arrival of Kyai Fathahillah (Bandung) meets Ensemble
Gending (Belanda). Both ensembles seemed to show a
magnificent performance. Both presented progressive
composition supported with great individual skills.
Both groups performed a project around Indonesia titled
“Tribute to Ton de Leeuw” in 2006. It was an honorary concert
for the maestro of Gamelan from outside Indonesia.
At the 15 YGf this year, Kyai Fathahillah and the Ensemble Gending teamed up to play the big gamelan composition for 20 players.
The performance of both with sufficient ammunition does deserve
to be the reference of gamelan play progress with the nowadays approach.
New frames then showed up, not only gamelan to support
the composition that has been self-arranged, but also the effort to
translate non-gamelan works in to the gamelan. The matter at least
was shown as Iwan Gunawan with Kyai Fathahillah performed Six
Marimbas by Steve Reich (1974).
It is then not wrong when the YGF committee scheduled Kyai Fathahillah
meets Ensemble Gending to perform once more on the second day,
Saturday (17/7). In the second day, there was also the Andrawina group
(Jogjakarta) and Jendela Ide (Bandung).
On the third day, Sunday (18/7) that was also the closing of the annual
event, Rene Lysloff (California, USA), Bronze Age (Singapura),
Kiai Kanjeng (Yogyakarta), and the Sumunar Gamelan and Dance
Ensemble (Minnesota, USA) were up with each their own style on
stage, reinterpreting the gamelan.
A touching sense was felt as the Sumunar Gamelan and Dance Ensemble
recited praises to the prophets at their composition. It was
truly a beautiful prayer chanted by those foreigners. It was as if they
were praying for the longevity
of YGF.
This may well be the reminder for our own nation that has the tendency
to have put the gamelan aside. The masterpiece of the civilization
has slowly becomes something of less matter in the era that demands
pragmatism. It must be admitted that in the end, those foreigners turn
to have a much better awareness towards the gamelan. Like the words
of the Gending Ensemble’s conductor, Jurrien Slighter, “The sound
of gamelan is remarkable to us. Although for many Indonesians it is
considered an ordinary thing,” he said.
Jurrien himself admitted his admiration as he explored the gamelan
with Holland native players. With the concept of playing the nonclassical
gamelan, the Gending Ensemble has really given birth to
amazing composition. “In order to understand the gamelan character,
sharpness of feel is required. In gamelan each instruments requires
the handling based on their characteristics,” he explained.
Awarness and exploration of gamelan by the foreigners was also unquestioned
by the Kyai Fathahillah’s leader, Iwan Gunawan. “They
have inspired us to play the gamelan in a much broader way. Not only
by playing our own works, but also in rearranging the works of others
in the gamelan,” he elaborated.
Out there, besides the YGF, other prestigious gamelan festivals have
been growing, such as the Amsterdam Gamelan Festival. And this event has served as the motivator of interest for musicians from
all parts of the world to concentrate more on gamelan.
Even so, it should be remembered that the YGF has become
one of the lighter of the globalization of gamelan nowadays.
The at least 34 countries those were involved in this event
has brought the sparkles of that spirit to their countries. The
fact that gamelan is progressing in other parts of Indonesia
is also one of the proofs that gamelan has been accepted everywhere.
Yes, YGF has been diligent in keeping the spirit to stay convinced
that the gamelan will be a world icon from Indonesia.
YGF is certain that the preservation is not by putting the
gamelan in the museum but by playing them, and opening the
room of tolerance so it will not be a halted culture. So is the
pledge that is continuously developed.
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