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Orang Mawas: a Bigfoot of Johor; Orang Minyak: a being who lubricates his body with oil (so that he will not be easily caught) and usually harasses women with the intention of violating them; Raksasa or Gergasi or Bota: a man-eating giant; Lycanthropic beings Jadian: a human being who can transform themselves into animals (especially tigers)
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Gamelan is used to accompany all puppet shows, including wayang kulit, wayang golek, wayang klithik, wayang beber, etc. In wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan is a complement and supporter of wayang performances, which is still favored by Indonesians.
Man playing kenong in a gamelan orchestra (1966) The Kenong is a musical instrument of Indonesia used in the gamelan. [1] [2] It is a kind of gong and is placed on its side. It has the same length and width. Thus, it is similar to the bonang, kempyang, and ketuk, which are also cradled gongs. Kenongs are generally much larger than the ...
Instruments in gamelan gong kebyar offer a wide range of pitches and timbres, ranging five octaves from the deepest gongs to the highest key on a gangsa. The high end can be described as "piercing", the low end "booming and sustained," while the drums as "crisp". Kebyar instruments are most often grouped in pairs, or "gendered."
The kempyang and ketuk are two instruments in the gamelan ensemble of Indonesia, generally played by the same player, and sometimes played by the same player as the kenong. They are important beat-keepers in the colotomic structure of the gamelan. Depending on the structure, they play different, repeating patterns every gongan. Not all ...
Gamelan semar pegulingan is an old variety of the Balinese gamelan. Dating back from around the 17th century, the style is sweeter and more reserved than the more popular and progressive Gamelan Gong Kebyar. Semar pegulingan is derived from the ancient flute ensemble gamelan gambuh which utilizes a 7 tone scale.
In designing the kebyar duduk dance, I Mario was influenced by recent innovations in Balinese gamelan, which allowed interpretation of the music as well as a fast tempo. This development, known as the gamelan gong kebyar, was manifested early on in legong dances (specifically, kebyar legong), from which I Mario drew his inspiration. [2]