Balinese directors I Nyoman Saptanyana and Ida Ayu Ari Candrawati. Our gamelan is graciously housed by the Consulate General of the Republic of Indonesia.
..............New Release on Tzadik.............. Ikue Mori's Bhima Swarga---Bhima Swarga is a fascinating film project from one of the most creative electronic musicians around. Delightfully animating traditional paintings from the Kertha Gosa temple ceiling in Bali, Mori depicts the journey of the soul from hell to heaven in two versions: one scored using her signature laptop electronics and one scored by Matt Welch, featuring a full gamelan ensemble augmented by Ikue's electronics and Welch on saxophone and percussion. A spectacular audiovisual presentation for all ages(John Zorn)......... Personnel: Ikue Mori: Electronics/ Gamelan Dharma Swara: Matthew Welch/ Lela Chapman/ Tomoko Deguchi/ Eric Hung/ Travis Jiorle/ Putu Bagus Khrisna Saptanyana/ Elizabeth Leininger/ Andrew McGraw/ Willa Roberts/ Christopher Romero/ I Nyoman Saptanyana/
Gamelan Dharma Swara, under the direction of master Balinese artists, studies and performs traditional and new works for Balinese gamelan ensemble. Through performance and education, we bring Balinese gamelan to the widest audience and participant base possible, and we endeavor to perform with spirit, dedication and gratitude.
Under the direction of our Balinese directors I Nyoman Saptanyana and Ida Ayu Ari Candrawati, we study, perform, and teach the music and dance of Bali in New York City and surrounding areas. Existing members of about 20 individuals come from a variety of academic, professional, and artistic backgrounds. Rehearsals, which are 1-2 times a week, are open to the public, and we also teach basic beginners classes and hold workshops.
The unique Balinese and Javanese gamelan orchestras, characterized by tuned gongs, developed sometime between 9th to 15th centuries when Central and Eastern Javanese Hindu-Buddhist empires expanded their cultural influence throughout present-day Southeast Asia. Today, instruments similar to those of the gamelan are found throughout the region. As in many areas of Southeast Asia, traditional Balinese theater and dance involves enactments of Indian Hindu epics such as the Ramayana and Mahabharata, Javanese legends such as the Panji tales as well as a number of local legends.
Balinese lore maintains that, as the population of Central Java increasingly came under the influence of Islam between the 14th-16th centuries, large numbers of Hindus (primarily, it is said, from the noble ranks and including many artists) retreated to Hindu Bali bringing with them early forms of gamelan and dance styles. Today, the musical landscape of Bali, an extremely small, volcanic island in Indonesia, is incredibly dense. Much like Darwin’s famed finches, the few ancient ensembles and dance styles quickly evolved into an almost bewildering number of distinct and uniquely Balinese forms. Dharma Swara studies a variety of these forms, from ancient dances once performed to entertain the rajas in their palaces, to the loud and virtuosic repertoire of the contemporary kebyar ensemble and experimental seven-tone works performed on the newly created gamelan semara dana.
After you've finished here, you may like to hear this folk-carol on myspace... Poem 230 of 230, WalkaboutsVerse (see my blog for details): CHRISTMAS SUNG SIMPLY
As gospellers have said, Beneath signalling skies, On land dusty to tread, A trough in a stable Was the strawy first-bed Of a divine baby - The forgiving Godhead.
A season for new hope - There then and here now; The yuletide of goodwill - There then and here now.
In respect of this chance, Beneath bright or dark skies, Faith's the star that we glance Attending Christ's churches And trying to enhance, With singing and ritual, Our God-loving stance.
After you've finished here, you may like to hear this poem sung on myspace...
Poem 162 of 230, WalkaboutsVerse (please see my blog): TEES TO TYNE: FIRST IMPRESSIONS - SUMMER 2001
Where traditions are not so rare; Sea, country and works scent the air; A multitude of monuments, Planted tubs and patterned pavements.
The longish pedestrian malls; The remnants of defensive walls; Historic buildings are a gauge Of the respect for heritage.
Wheat, rape and pines in the fields; Estuaries guarded by shields; Long sandy beaches and wide scenes; Romantic-ruin go-betweens.
Rivers in parts licked by trees, Or fringed by boat clubs, wharfs, gantries, And crossed by practical delights - Varied spans, forming pleasing sights.
Fine churches headed at Durham; Football kits ad infinitum; Kept castles - one for study; Masonry behind masonry.
And, with moulding-works out that way, It’s somewhere for a longer stay..?
After you've finished here, you may like to hear this poem sung on myspace...
Poem 2 of 230, WalkaboutsVerse (please see my blog): WALKABOUT WITH MY PEN
Once drove an old sedan, up north, From a place in Sydney to Cairns; Then to Kuranda I went forth, By train, to look without set plans.
I browsed through the trendy market, With fresh fruits of tropical kind; Walked to the creek through lush thicket - Nature’s hand giving peace of mind.
I dined in a scenic cafe; Then, outside, as I wrote for yen, Some passing Kooris called-out: “Hey, You go walkabout with your pen.”
Request or question, I don’t know - Assured voices, elderly men. That’s now several years ago, And I’ve seen the world - with my pen.
The phenomenon is tunable in that the characteristic sounds and intensities of those sounds depend on the characteristics of the RF energy as delivered... Because the frequency of the sound heard is dependent on the pulse characteristics of the RF energy, it seems possible that this technology could be developed to the point where words could be transmitted to be heard like the spoken word, except that it could only be heard within a person..s head. In one experiment, communication of the words from one to ten using ..speech modulated.. microwave energy was successfully demonstrated. Microphones next to the person experiencing the voice could not pick up these sounds.
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