Pak Loceng passed away on October 17. I've just made a new website devoted to his music and his memory. Please visit it at www.genderwayang.com.

GENDER WAYANG by I WAYAN LOCENG
April 1990

Gender Wayang Music

Gender wayang, one of the most ancient musical ensembles existing in Bali, accompanies shadow theatre as well as tooth filings, cremations, and other religious ceremonies. Although a rather small ensemble, gender wayang incorporates delicate interlocking melodies and active contrapuntal movement. The music described in this book comes from Sukawati, the area most famous for shadow play and the development and maintenance of Gender Wayang tradition.


Mahabarata Shadow Puppet Play

Traditionally the performers are treated to a good meal, drinks, cigarettes and betel nut. Only after this do they arrive at the stage and begin the night's performance. The first piece begins any time after the group is settled on the platform. These introductory or independent pieces (Tabuh Lepas - Pangguran & Petegak) are played dynamically in a loose and free manner. Many pieces fall under this category; the choice depends on the mood, feelings, and capabilities of the musicians. The following lists some possible choices:

Sekar Sungsang
Sekar Ginotan
Sekar Jepun
Sekar Gadung
Sulendra
Seketi
Merak Ngelo
Cangak Merengang
Engkuk Engkuk
Crukcuk Punyah

This opening functions separately from the dalang's (puppeteer's ) activities, which at this time involve prayers and preparatory ritual, including mantras for obtaining help, inspiration, and forgiveness. When ready, the puppeteer strikes the box three times with open palm. Normally this occurs after the first piece ends, although the puppeteer can strike the box at any time cueing the musicians to begin Pemungkah, an intricate complicated overture.

Taru Mentik (birth of the kaynonan - tree of life).
The puppeteer and musicians work together creating the opening dance of the kayonan.
Katak Ngongkek (Singing Frogs)
Tulang Lindung (Eel Bones)
Sesapi Ngindang (Flying Bird)
Berayut Anggit Anggit (Sweet Kotekan for the Mother of Many Children)
During the above pieces, the puppeteer sorts his puppets by placing them on different pieces of banana bark, some on the screen and some off to the side. The puppets for the night's episode are then taken from the main banana bark in order of importance, the last puppet, the most important.
Bayubajro (Heavy Rains with Hard Wind Blowing)
The kayonan, alone on center screen gets jostled from the "Hard Wind Blowing" and finishes the section with another dance.

The above sections make up the instrumental part of Pemungkah and transit directly to Halus Harum (Sweet Smelling Forest). With singing and intoned vocals, the puppeteer announces the main characters who assemble for the first meeting, the unveiling of the episode. Once all the puppets enter, the music and song continues with: Penyacah Parwa, a classical piece for asking for inspiration, Pengalang Ratu and Pengalang Punakawan, more classical pieces introducing characters.

Note that Halas Harum is sung only if the first puppet to enter is a refined, narrow eyed character, i.e. Krishna or Arjuna. Candi Rebah accompanies puppets with big or wide eyes, more crude types, i.e. Rowana or Raksasa.

Once the meeting ends, the music is less complicated and mainly follows the movement of the story. The following lists specific pieces played for either specific characters or feelings:

An expanded Gender ensemble, named Gamelan Batel, includes a festive percussion back up. The music is similar to Mahabarata music, with slight variation, such as the contents of Pemunkah:
Taru Mentik, Hanggit Hanggitan, Sekar Goyang, Kepuan, Gegambangan, Bebrayutan, Taru Kempehang

For the meeting refined characters enter to Rundah; crude characters enter to Candirebeah, Purwa Kanda or Pengalang Kara. The music accompanies each scene as in Mahabarata performances.

Certain characters have their own entrance and dance music. Some of these are: Sempati, Empu Mendo, Anoman, Drawi, Nile, Ngada.

List of required instruments and players:
One Dalang
Two Assistants
Two Kendang (drums)
One Ceng Ceng
Four Gender Wayang
One Kempur
One Kajar
One Kelentong
One Kelenang
One Tawa Tawa
One Suling


Wayang Gedogan (puppet play without a screen), Sepu Leger, and Other Ceremonial Puppet Play

The dalang chooses an appropriate episode or type of puppet play in accordance with the religious ceremony to take place. Two Gender normally accompany Wayang Gedogan. The music is the same as Mahabarata with one exception:
Halas Harum is replaced by Rendah for narrow eyed characters or Candi Rebah for wide eyed characters.


Tooth Filing Ceremonies

Tabuh Lepas - independent opening piece.
Pangkat - Krepetan, Partha Wijaya, Bima Kroda, any transitional or walking piece used as a processional
Mesem, Rebong, Halas Harum, Candi Rebah, Rundah, Bendu Semara, Cupu Kembang, Sliring - while the tooth filing actually happens, very slow classical pieces are played.
Penetup - Tabuh Gari
Additional appropriate pieces can be used for large ceremonies. Often a family will pool their resources together to afford this costly ritual, so eleven or more people in one ceremony is not unusual. In that case, each person walking to the platform is accompanied by Pangkat or transitional pieces.


Cremation

Gender Wayang is commonly seen on moving cremation towers. They play although no one can really hear them well, and for that matter, they can't even hear each other. Pangkat, Rundah, Tunjang, Rebong, Tanggis, Batel, Tabuh Gari can be played.

I Wayan Loceng playing Gender Wayang

Evan Ziporyn and I Wayan Wija (with frog puppets.) Pak Wija is famous for his unconventional animal puppets.

Pak Wija holding a giant dinosaur puppet.

Evan Ziporyn, Chris Kline, Erin McCoy, and Christine Southworth playing gender.