Year 8, #6

1 May 2009
Home of Bp. Supanggah, Benawa, Palur

On Friday night, 1 May 2009, we had the 6th klenengan in the 8th fiscal year running. It was held in Benawa, at the home of Bp. Supanggah. Dr. Slamet Suparno, Rektor of ISI, was in charge of determining the first four gendhing. Unfortunately at the last minute, Pak Slamet Suparno was unable to attend, but he wanted the klenengan to procede anyway, and he will receive a recording.

We had a lot of guests from Klaten tonight, mas Wito bringing them with him in his car—Pak Gendhon (rebab player for Pak Manteb), Pak Muryana (rebab player for Pak Anom), mbak Muji Rahayu (singer that used to sing with Ki Mujoko, alm), which made for a very lively klenengan.

—Kitsie Emerson, Solo/Jakarta

Acara Gendhing

Pathetan manyura ageng (koor bedhayan) dhawah Gd. Lobong kt 2 kr mg Pareanom kalj Ldr Kandhamanyura, BEDHAYAN SOLO

rb: Raji
gd: Ratno
kd: Wakidjo
gb: Wakiyo
bn: Legiyo

listen to audio

Gd Bondhan kt 4 kr mg 8 mawi Saratruna, pt jugag, pl 6

rb: Muryana
gd: Ratno
kd: Wakidjo
penuntung: Kamso
gb: Minarto
bn: Legiyo

listen to audio

Ktw Gd Karawitan kt 4 kr mg Ldr mawi kendhangan Topengan

(The musicians decided to go into kendhangan “topengan” in the ladrang, and mas Jarwo was absolutely forced—dragged—up to the kendhang as the only one capable. He wasn’t very happy about it! But as the ladrang progressed, in walked Joko Santosa, one the best drummers for wayang topengan style still alive—out of only 2-3 still alive.So he took over. Much to everyone’s amazement, since he never comes to Pujangga Laras. For more about Wayang Topeng, see the note at end of this report.)

rb: Gendhon
gd: Muryana
kd gd: Wakidjo
kd topengan: Jarwo the first time and then Joko Santosa took over
gb: Wakiyo
bn: Legiyo

listen to audio

Gd Bontit kt 4 kr mg 8 kalj Ldr Peksi Kuwung dados Ayak Anjang Mas mawi palaran Gambuh (Yatmi), Dhandhanggula (Darsono vokal), Asmaradana (Parni), Durma (Hartono) dados Srepeg rangkep, pt Plencong, pl 6

rb: Gendhon
gd: Ratno
kd gd : Wakidjo
cib: Wakidi
gb: Wakiyo
bn: Legiyo

listen to audio

Jn Uler Kambang, sl 9 (Mulyani)
Jn. Mari Kangen, sl 9 (Muji Rahayu)
Jn. Glathik Glindhing, sl 9 (Warti)

gd: Kamso
kd: Wakidi
gb: Wakiyo

(break for dinner)

Pathetan sl 9 wantah Bawa (Hartono RRI) dhawah Gd Wangsaguna kt 2 kr mg 4 kalj Ldr Pakumpulan, pt jugag

rb: Muryana
gd: Kamso
kd: Wito
gb: Minarto
bn: Legiyo

listen to audio

Ktw Gd. Sumedhang kt 2 kr mg Ldr Kapidhondhong, pt ngelik pl 6

rb: Darsono “cilik”
gd: Darsono “Jepang”
kd: Mujiono
gb: Wakiyo
bn: Legiyo

listen to audio

Gd Loro-Loro Gendhong kt 2 kr mg Loro-Loro Topeng—Ayak-ayakan Mijil Larasati, sl manyura

rb: Darsono “cilik”
gd: Darsono “Jepang”
kd: Mujiono
gb: Minarto
bn: Legiyo

Note about Wayang Topeng

Wayang Topeng was a style formerly quite alive in the Klaten area, which was normally performed in the afternoon before an all-night wayang kulit. In these afternoon performances, a group of dhalang would wear masks (topeng) and peform lakon stories via topeng dances—also known as Dhalang Topeng, or also Topeng Dhalang. There were a number of popular and talented practitioners of this art, such as Ki Gandadarman, Ki Kesdik, Ki Gandatukas, among others. There are special sekaran that were used in their kiprah and other dance movements, that are quite Klaten specific and vary significantly by region.

Sometimes in the subsequent all-night performance, the same dhalang that performed in the afternoon might refer to the dhalang topeng sekaran (either in humor or as a kind of garap reference) by having the musicians go into topengan sekaran in Ldr Karawitan during the jejer. There would be no movement of any sort on the screen, it would just be a moment for the dhalang to rest—like when musicians used to go into rangkep in wayang after a scene’s narration was finished. There is at least one video I have seen in which Ki Kesdik raises up his arms and “dances” a bit from his seated position, referring to the dance movements while this is going on. But in general it’s just a reference from the kendhang—with no movement in the wayang or from the dhalang.

There are a few videos available of Wayang Topeng from the past. ISI has done a few documentation projects, including one of Ki Gandadarman when he was still alive. Ki Joko Santosa (Ki Gandatukas’ son) is trying his very best to keep the tradition alive among the younger generation—in particular among Ki Kesdik’s sons and Ki Gandatukas’s lineage. One performance took place last July in Klaten, but they are very rarely revived. If anyone is interested in helping to sponsor a revival and recording among Ki Kesdik and Ki Gandatukas’s lineage, please let me know as I would be interested in coordinating the effort.

Musicians Attending

  • kendhang: Wakidjo, Wakidi, Wito, Jarwo, Joko Santosa, Mujiono
  • rebab: Gendhon, Muryana, Raji, Darsono “cilik”
  • gender: Ratno, Muryana, Kamso, Darsono “Jepang”
  • sindhen: Yatmi, Yayuk, Mulyani, Tugini, Tarini, Muji Rahayu, Bero, Yayuk “SriWedari”, Warti, Sumini
  • gambang: Wakiyo, Minarto
  • gerong: Darsono vokal, Budi, Iyasa, Sri Joko Raharjo “cilik”, Widodo, Hartono “Sajuri”, Hartono “RRI”, Parno
  • bonang: Yadi, Legiyo
  • bonang penerus: Radjiman
  • gender penerus: Joko Sabar
  • siter: Joko Tipes, Priyo
  • suling: Mujiono, Ngahana
  • slenthem: Ripto, Saminto
  • peking: Pahang
  • gong: Hali, Prapto, Karman
  • kenong: Sarsidi
  • kethuk: Mulyana
  • balungan: Yanto, Tukimian, Sapa, Sular, Priyo, Cipt Ngasinah, Bambang Sis, Kuat, Tulus, Wardi, Marman, Darsono B, Sutat, Bandi

Audience:

  • Alan Feinstein, USA
  • Rachel Hand, England
  • Rainer Schuetz, Germany
  • Supanggah
  • Purbo Asmoro
  • Joko Purwanto
  • Singgih
  • Furqon
  • Lukman
  • Nandar
  • Wawan

Budget

We spent Rp.7,315,000 or $696 (Rp. 10,500= $1).