KrishnaVandanu

Primbon Kakang Kawah Adhi Ari-ari

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Antarane Sedulur sanga sing mbarengi lahire jabang bayi, Kakang kawah lan Adhi Ari-Ari niku sing paling dikenal. sedulur loro Iki kang tansah dipun sebut menawi nyuwunaken sawab pandonga kangge janang bayi niku, malah nganti tekan gede, nikah lan dadi wong tua. Kakang kawah. Diarani Kakang amarga lahir lewih ndisit sedurunge jabang bayi lair. Kawah inggih punika banyu kawah. Ingkang wujude banyu, sing gunane kanggo nelesi dalan bayi kareben lunyu ora seret, supados bayi sing bakal metu bisa liwat dalan lahire kanti saged lancar, lan bayi kulit isih alus iki ora tatu mangkono. Amarga saka sawijining peran kanggo nyiyapake lan mbukak dalan kanggo lair, mulane banyu kawah utawa kakang kawah niku diontenaken kawontenane lan dianggep minangka Sedulur sepuh si jabang bayi, minangka sebutan Kakang kawah. Ing alam urpi seteruse, Kakang Kawah diselehake minangka pengejawantahan saka Gusti Allah  sing bisa disambat-sebuti utawa dijaluki pitulungan kanggo ngrewangi ngrampungi masalah - masalah Penguripan.<br />
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<i><span class="long_text" id="result_box" lang="jw" tabindex="-1"><span class="alt-edited">Kakang kawah lan Adhi Ari-Ari njaga jabang bayi kawit wujude tesih calon bayi nganti pungkasan urip (kivandanu).</span></span></i></div>
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Pada saat proses kelahiran berlangsung, si ibu yang melahirkan membutuhkan kain jarit untuk dipakai sebagai alas untuk menampung air dan darah yang keluar dari vagina si ibu. Kain jarit tersebut dinamakan kopohan, arti kata kopoh atau basah.<br />
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Setelah selesai proses kelahiran, kain Kopohan ini dicuci, yang mencuci diberi upah uang lalu disimpan, tidak boleh dipakai harian, kecuali jika si bayi sedang sakit, kain Kopohan tersebut dapat di selimutkan si bayi. Atau dipakai besuk kalau si ibu mempunyai anak lagi.<br />
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Adhi Ari-Ari. disebut Adhi karena lahirnya menyusul setelah jabang bayi. Ari-ari adalah gumpalan daging lunak, yang sebelumya menjadi tempat jabang bayi.tumbuh dari janin hingga menjadi bayi. Ketika tiba saatnya kelahiran, bayi tersebut lahir keluar diikutti oleh Ari-ari. Antara Bayi dan Ari-ari digandengkan oleh tali pusar. Jika proses kelahirannya di rumah dan ditangani oleh Dukun Bayi atau semacam bidan tradisional, tali pusar tersebut dipotong dengan menggunakan welat, yaitu kulit bambu hitam dan dilandasi dengan kunyit.<br />
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Setelah pemotongan tali pusar, ari-ari tersebut dirumat, diopeni, dirawat khusus, ditempatkan dalam kendhil baru dari tanah liat yang di beri alas daun senthe. Setelah ari-ari dimasukan, di atasnya diberi: kembang boreh, minyak wangi, kunir bekas untuk alas memotong tali pusar, welat alat pemotong tali pusar, tulisan Jawa, Arab, Latin, uang sagobang, garam, jarum, jahit, benang, gereh, pethek, gantal, dan kemiri. Barang-barang tersebut setelah dimasukkan ke dalam kendhil dan kemudian ditutup rapat dengan cowek tanah liat, lalu dibungkus kain mori putih.<br />
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Pada umumnya ari-ari tersebut di tanam di tanah pada pintu utama rumah sebelah kanan. Sebaiknya yang melakukan adalah bapaknya si bayi dengan pakaian Jawa lengkap dengan memakai keris.<br />
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Ada ari ari yang tidak ditanam, tetapi dilabuh di sungai. Ada lagi yang digantungkan di pojok rumah sebelah luar. Setelah sibayi besar, Ari-ari yang digantung tersebut dilabuh di sungai oleh sibayi yang sudah menjadi besar.<br />
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Oleh karena perannya yang pokok, mulai dari pertumbuhan janin hingga menjadi bentuk bayi secara utuh, Ari-ari tersebut dianggap sebagai saudara muda dari si bayi dengan sebutan Adhi Ari-ari. Seperti juga Kakang Kawah, Adhi Ari-ari ini dalam kehidupan jabang bayi selanjutnya, didudukan sebagai kepanjangan Tangan Tuhan yang dapat disambat-sebuti atau dimintai pertolongan untuk membantu memecahkan persoalan-persoalan kehidupan.<br />
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Pada peringatan weton atau hari dan pasaran kelahiran si bayi, yang terjadi setiap 35 hari atau selapan, si jabang bayi dibuatkan jenang among-among. Jenang among-among tersebut dimaksudkan sebagai ucapan syukur atas keselamatan si bayi dan untuk ngemong-mongi atau memelihara dan menjaga si jabang bayi selanjutnya. Yang disambat-sebuti adalah Tuhan, namun dikarenakan Kakang Kawah dan Adhi Ari-ari adalah kepanjangan tangan-Nya maka Kakang Kawah dan Adhi Ari-ari berada dalam wilayah karya penjagaan Tuhan terhadap si bayi. Bahkan sebagai saudara hubungan antara si bayi dengan Kakang Kawah serta Adhi Ari-ari lebih akrab, seperti permohonan yang diucapkan pada saat membuat jenang among-among :<br />
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<b>“Kakang Kawah Adhi Ari-ari,<br />jaganen aku sadina sawengi,<br />supaya slamet tumeka awakku,<br />sluman-slumun slamet<br />tan kena bebaya saka kersaning Allah”</b></blink></div>
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Kakang Kawah dan adhi ari-ari ini dalam ilmu kasepuhan bisa didaya gunakan dalam membantu permasalahan hidup,karena mereka ada dalam diri kita masing-masing maka jika saudaranya meminta bantuan tentunya mereka akan membantu apa yang menjadi keinginan saudaranya. Ada pula yang menyebut Qorin/Khodam Pendamping/Perewangan Urip/dsb,namun yang perlu diketahui Kakang Kawah Adhi Ari-ari adalah saudara/pendamping ghaib anugerah Ilahi yang sudah diberikan pada kita guna mendampingi, menjaga, melantari permohonan / permintaan kita pada Sang Hyang Maha Kuasa agar segera terwujud. Dengan Kunci Ilmu tertentu saudara ghaib ini bisa mampu membantu menyelesaikan permasalahan hidup baik urusan jodoh, rezeki, cinta asmara, keselamatan, bahkan sampai urusan kekayaan/membantu melunasi hutang yang menumpuk agar terselesaikan.<br />
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Jarang seseorang dijazaman modern ini mengetahui/memiliki keilmuan dalam membangkitkan potensi saudara ghaib anugerah Allah SWT tersebut. Bahkan Paranormal belumlah lengkap/sempurna ilmunya jika belum menguasai ilmu Kakang Kawah Adhi ari-ari.Salah satunya diantara tempat /perguruan yang terpercaya dalam Pengijazahan Kunci Ilmu Kakang Kawah Adhi Ari-ari adalah susuhangin yang dikhususkan pengijazahannya untuk urusan rezeki yakni meraih Pesugihan Putih dengan perantaraan saudara ghaib “Kakang Kawah adhi Ari-ari” untuk mendongkrak kesuksesan,kemakmuran,terbebas dari masalah keuangan,dsb.Sebenarnya Program tersebut bukan hanya untuk masalah rezeki aja bila urusan tersebut terselesaikan maka potensi itu bisa ditingkatkan untuk perlindungan ghaib, pemagaran ghaib, pelet pengasihan, dll.<br />
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<i> http://sekawan-kumpulan-goib.blogspot.com/2012/08/primbon-kakang-kawah-adhi-ari-ari.html</i></div>

Primbon Kakang Kawah Adhi Ari-ari

Antarane Sedulur sanga sing mbarengi lahire jabang bayi, Kakang kawah lan Adhi Ari-Ari niku sing paling dikenal. sedulur loro Iki kang tansah dipun sebut menawi nyuwunaken sawab pandonga kangge janan…

09 May 2014

Bisma Gugur Ki Sugino Siswocarito

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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Menika </span>pasugatan ringgitan Banyumasan saking Ki Sugino Siswocarito ingkang ngangge “thema” <span style="font-size: large;"><b>Baratayuda Jayabinangun seri kalih</b></span>. Sepindhah malih, menawi wonten jagading ringgit, Perang Baratayuda menika kalebet perang ageng ingkang kaping sekawan. Lampahan Baratayuda mBanyumasan versi Ki Sugino menika, menawi kagatekaken, radi caket kaliyan alur lampahan saking gagrak Ngayogyakarta, nanging iringan gendinginpun caket kalian gagrak Surakarta</span></span></div>
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<i><span style="font-family: inherit;"><span style="font-size: small;">Silih Ungkih ganti kalindhih, rebut unggul tandhing tyasa Resi Bisma lan Resi Seta. Kekalih resi menika sampun dados satru bebuyutan saking mudhanipun. Ing perang Baratayuda Jayabinangun, tuntas kekajenganipun kangge mbuktekakan sinten ingkang unggul sejatosipun (gambar koleksi Mas Agus “Mahesa Jenar” Wiyarto) </span></span></i></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Wonten </span>lampahan <b><span style="font-size: large;">Bisma Gugur</span>, Baratayuda Jayabinangun</b> dipun wiwiti. Lah miturut Baratayuda versi gelaranipun Ki Nartasabdo, perang antawisipun Resi Bisma anggenipun majeng wonten rananggana ngantos sirnanipun Resi Seta kalajengaken kaliyan Guguripun Resi Bisma piyambak dening Prajurit Wanita, Wara Srikandi, dangunipun ngantos kawanwelas dinten. Paling lami miturut cariyosipun. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Kathahipun </span>para paraga ingkang angemasi wonten ing lampahan menika ugi kathah, kados ta; Raden Untara, Wratsangka lan Resi Seta, ingkang tiga tiganipun menika putra saking Wiratha. Tiga tiganipun dados tawur saking bela kasaenan, nalika Pendhawa ingkang kabucal Kurawa 12 tahun lan kedah namur kawula setahun tanpa kadenangan. Para Pandhawa saged bela Negari Wiratha ngantos Negara Ngastina ingkang dipun ombyongi Prabu Susarman saking Trikarta ingkang anggadahi trekah anjajah negari Wiratha, saged kendhang kapracondhang saking paprangan. Kethiripun wadya Ngastina awit dening pangamukipun Jagal Abilawa sesinglonipun Raden Werkudara, lan Kandhiwrahatnala sesinglonipun Raden Arjuna. <span style="font-size: large;"><span style="font-size: small;">Kejawi</span> </span>menika sakderengipun perang dipun wiwiti, wonten pejahipun Bambang Irawan. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Menawi </span>panjenengan ngundhuh ugi gending talu wonten file 1A, pilihan gendhing sampun “beraroma maut”. Cobi panjenengan gatekaken, senajan wonten sisipan gendhing dolanan Menhok-menthok lan Kupu kuwi, nanging tetep aroma menika taksih kenthel kaganda. Sampun dipun tilar file menika nggih. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Sedanipun </span>keng rama lan ibunipun Prabu Duryudana, Prabu Drestarastra lan Dewi Gendari wonten ing kedosan Kresna Dhuta, andadosaken jalaran wiwitaning Baratayuda Jayabinangun menika. Gereng-gereng, ambekuh Prabu Duryudana, awit kraos getun lan sedhih tinilar dening tiyang asepuhipun. Anuli Resi Bisma neter kesagahan lan siaganing golonganing Kurawa mengsah lan Para Kadang Pandhawa.. Ing kalenggan menika parampara Ngastina sami jumurung ing kersa dados sesawat balang lan sesawur, murih jayaning Para Kurawa. Lega rasaning manah Prabu Duryudana salajengipun, dene para paranparaning praja misuda Resi Bisma dados senapati ingkang kapisanan. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Nanging </span>ing mangke Resi Bisma maringi tetenger menawa Perang Baratayuda menika satunggaling papan sauring utang lan potang. Kaping kalihipun Resi Bisma paring katrangan menawi kasagahanipun majeng dados senapati menika namung kinarya pasanggiri. Liripun, lamun piyambakipun ungguling jurit Kurawa bakal mukti. Nanging menawa kasor tebihipun kapupuh ing adilaga, para Kurawa kedah seleh gegaman mungkasi prang lan soroh negari Ngastina lan Negara Amarta sawetahipun.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Kados pundi gancaring lampahan Bisma Gugur, magga panjenengan kersa ngunduh folder BISMA GUGUR menika, ingkang kabagi alit nembelas file agengipun watawis 29Mb. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Halaman download: https://www.mediafire.com/?h6cnkhfrl5idm </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Link download : </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">1. http://www.mediafire.com/listen/o28mbc6o5t9gzwa/Bisma_Gugur_1A_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">2. http://www.mediafire.com/listen/5ed5iaie6bhifc6/Bisma_Gugur_1B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">3. http://www.mediafire.com/listen/iuy43z6gdt63843/Bisma_Gugur_2A_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">4. http://www.mediafire.com/listen/0t0o60bs8q6jp01/Bisma_Gugur_2B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">5. http://www.mediafire.com/listen/ot13ax6cv1j65rr/Bisma_Gugur_3A_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">6. http://www.mediafire.com/listen/g8gknfgw3a63o2p/Bisma_Gugur_3B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">7. http://www.mediafire.com/listen/q2cedgx6vegah1i/Bisma_Gugur_4A_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">8. http://www.mediafire.com/listen/jcgs5oqwy3piz04/Bisma_Gugur_4B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">9. http://www.mediafire.com/listen/aq99fpqt5af1b7j/Bisma_Gugur_5A_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">10. http://www.mediafire.com/listen/j07a0mnbsx71eqx/Bisma_Gugur_5B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">11. http://www.mediafire.com/listen/j07a0mnbsx71eqx/Bisma_Gugur_5B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">12. http://www.mediafire.com/listen/m7e2ni80po089fi/Bisma_Gugur_6B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">13. http://www.mediafire.com/listen/t4r2fz5y4gq6mbp/Bisma_Gugur_7A_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">14. http://www.mediafire.com/listen/budg2xnve8u8qkc/Bisma_Gugur_7B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">15. http://www.mediafire.com/listen/67djt469dv70o4t/Bisma_Gugur_8A_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">16. http://www.mediafire.com/listen/9cy07ad1c0d5p46/Bisma_Gugur_8B_KSSC.mp3 </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">link sumber berita: http://maspatikrajadewaku.wordpress.com/2012/04/02/bisma-gugur-ki-sugino-siswocarito/ </span></span></div>
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Bisma Gugur Ki Sugino Siswocarito

Menika pasugatan ringgitan Banyumasan saking Ki Sugino Siswocarito ingkang ngangge “thema” Baratayuda Jayabinangun seri kalih. Sepindhah malih, menawi wonten jagading ringgit, Perang Baratayuda menik…

09 May 2014

AJARAN SYEH SITI JENAR dan KEJAWEN

<div dir="ltr" style="text-align: left;"><h3 class="post-title entry-title" style="text-align: center;"><i><span class="Apple-style-span" style="font-size: x-small; font-weight: normal;">Dalam Memandang Ketuhanan, Dosa/Neraka, Pahala/Surga)</span></i></h3><div class="post-body entry-content"><div align="justify">PERBANDINGAN ANTARA AJARAN SYEH SITI JENAR Dan PANDANGAN KEJAWEN<br /><br />
Mengenai Ketuhanan, Alam, dan Manusia<br /><br />
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<b>Syeh Siti Jenar (Lemah Abang) dalam Mengenal Tuhan</b><br /><br />
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     Ajaran Siti Jenar memahami Tuhan sebagai ruh yang tertinggi, ruh  <br />
maulana yang utama, yang mulia yang sakti, yang suci tanpa kekurangan.  <br />
Itulah Hyang Widhi, ruh maulana yang tinggi dan suci menjelma menjadi  <br />
diri manusia.<br /><br />
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    Hyang Widhi itu di mana-mana, tidak di langit,  tidak di bumi, tidak<br />
 di utara atau selatan. Manusia tidak akan  menemukan biarpun keliling <br />
dunia. Ruh maulana ada dalam diri manusia  karena ruh manusia sebagai <br />
penjelmaan ruh maulana, sebagaimana dirinya  yang sama-sama menggunakan <br />
hidup ini dengan indera, jasad yang akan  kembali pada asalnya, busuk, <br />
kotor, hancur, tanah. Jika manusia itu mati  ruhnya kembali bersatu ke <br />
asalnya, yaitu ruh maulana yang bebas dari  segala penderitaan. Lebih <br />
lanjut Siti Jenar mengungkapkan sifat-sifat  hakikat ruh manusia adalah <br />
ruh diri manusia yang tidak berubah, tidak  berawal, tidak berakhir, <br />
tidak bermula, ruh tidak lupa dan tidak tidur,  yang tidak terikat <br />
dengan rangsangan indera yang meliputi jasad  manusia.<br /><br />
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    Syeh Siti Jenar mengaku bahwa, “aku adalah Allah,  Allah adalah <br />
aku”. Lihatlah, Allah ada dalam diriku, aku ada dalam diri  Allah.  <br />
Pengakuan Siti Jenar bukan bermaksud mengaku-aku dirinya sebagai  Tuhan <br />
Allah Sang Pencipta ajali abadi, melainkan kesadarannya tetap  teguh <br />
sebagai makhluk yang diciptakan Tuhan. Siti Jenar merasa bahwa  dirinya <br />
bersatu dengan “ruh” Tuhan. Memang ada persamaan antara ruh  manusia <br />
dengan “ruh” Tuhan atau Zat. Keduanya bersatu di dalam diri  manusia. <br />
Persatuan antara ruh Tuhan dengan ruh manusia terbatas pada  persatuan <br />
manusia denganNya. Persatuannya merupakan persatuan Zat sifat,  ruh <br />
bersatu dengan Zat sifat Tuhan dalam gelombang energi dan frekuensi  <br />
yang sama. Inilah prinsip kemanunggalan dalam ajaran tentang  <br />
manunggaling kawula Gusti atau jumbuhing kawula Gusti. Bersatunya dua  <br />
menjadi satu, atau dwi tunggal. Diumpamakan wiji wonten salebeting wit.<br /><br />
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<b>Pandangan Syeh Lemah Abang Tentang Manusia</b><br /><br />
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     Dalam memandang hakikat manusia Siti Jenar membedakan antara jiwa <br />
dan  akal. Jiwa merupakan suara hati nurani manusia yang merupakan <br />
ungkapan  dari zat Tuhan, maka hati nurani harus ditaati dan dituruti <br />
perintahnya.  Jiwa merupakan kehendak Tuhan, juga merupakan penjelmaan <br />
dari Hyang  Widdhi (Tuhan) di dalam jiwa, sehingga raga dianggap sebagai<br />
 wajah Hyang  Widdhi. Jiwa yang berasal dari Tuhan itu mempunyai sifat <br />
zat Tuhan  yakni kekal, sesudah manusia raganya mati maka lepaslah jiwa <br />
dari  belenggu raganya. Demikian pula akal merupakan kehendak, tetapi  <br />
angan-angan dan ingatan yang kebenarannya tidak sepenuhnya dapat  <br />
dipercaya, karena selalu berubah-ubah.<br /><br />
<br /><br />
    Menurut sabdalangit,  perbedaan karakter jiwa dan akal yang bertolak<br />
 belakang dalam pandangan  Siti Jenar, disebabkan oleh adanya garis <br />
demarkasi yang menjadi pemisah  antara sifat hakikat jiwa dan akal-budi.<br />
 Jiwa terletak di luar nafsu,  sementara akal-budi letaknya berada di <br />
dalam nafsu. Mengenai perbedaan  jiwa dan akal, dalam wirayat Saloka <br />
Jati diungkapkan bahwa akal-budi  umpama kodhok kinemulan ing leng atau <br />
wit jroning wiji (pohon ada di  dalam biji). Sedangkan jiwa umpama <br />
kodhok angemuli ing leng atau wiji  jroning wit (biji ada di dalam <br />
pohon).<br /><br />
<br /><br />
    Bagi Syeh Siti Jenar,  proses timbulnya pengetahuan datang secara <br />
bersamaan dengan munculnya  kesadaran subyek terhadap obyek. Maka <br />
pengetahuan mengenai kebenaran  Tuhan akan diperoleh seseorang bersama <br />
dengan penyadaran diri orang itu.  Jika ingin mengetahui Tuhanmu, <br />
ketahuilah (terlebih dahulu) dirimu  sendiri. Syeh Lemah bang percaya <br />
bahwa kebenaran yang diperoleh dari  hal-hal di atas ilmu pengetahuan, <br />
mengenai wahyu dan Tuhan bersifat  intuitif. Kemampuan intuitif ini ada <br />
bersamaan dengan munculnya  kesadaran dalam diri seseorang. <br /><br />
<br /><br />
<b>Pandangan Syeh Lemah Bang Tentang Kehidupan Dunia</b><br /><br />
<br /><br />
     Pandangan Syeh Jenar tentang dunia adalah bahwa hidup di dunia ini <br />
 sesungguhnya adalah mati. Dikatakan demikian karena hidup di dunia ini <br />
 ada surga dan neraka yang tidak bisa ditolak oleh manusia. Manusia yang<br />
  mendapatkan surga mereka akan mendapatkan kebahagiaan, ketenangan,  <br />
kesenangan. Sebaliknya rasa bingung, kalut, muak, risih, menderita itu  <br />
termasuk neraka.  Jika manusia hidup mulia, sehat, cukup pangan,  <br />
sandang, papan maka ia dalam surga. Tetapi kesenangan atau surga di  <br />
dunia ini bersifat sementara atau sekejap saja, karena betapapun juga  <br />
manusia dan sarana kehidupannya pasti akan menemui kehancuran.<br /><br />
<br /><br />
     Syeh Jenar mengumpamakan bahwa manusia hidup ini sesungguhnya mayat<br />
  yang gentayangan untuk mencari pangan pakaian dan papan serta mengejar<br />
  kekayaan yang dapat menyenangkan jasmani. Manusia bergembira atas apa <br />
 yang ia raih, yang memuaskan dan menyenangkan jiwanya, padahal ia tidak<br />
  sadar bahwa semua kesenangan itu akan binasa. Namun begitu manusia <br />
suka  sombong dan bangga atas kepemilikan kekayaan, tetapi tidak <br />
menyadari  bahwa dirinya adalah bangkai. Manusia justru merasa dirinya <br />
mulia dan  bahagia, karena manusia tidak menyadari bahwa harta bendanya <br />
merupakan  penggoda manusia yang menyebabkan keterikatannya pada dunia.<br /><br />
<br /><br />
     Jika manusia tidak menyadari itu semua, hidup ini sesungguhnya <br />
derita.  Pandangan seperti itu menjadikan  sikap dan pandangan Siti <br />
Jenar menjadi  ekstrim dalam memandang kehidupan dunia. Hidup di dunia <br />
ini adalah  mati, tempat baik dan buruk, sakit dan sehat, mujur dan <br />
celaka, bahagia  dan sempurna, surga dan neraka, semua bercampur aduk <br />
menjadi satu.  Dengan adanya peraturan maka manusia menjadi terbebani <br />
sejak lahir  hingga mati. Maka Syeh Siti Jenar sangat menekankan pada <br />
upaya manusia  untuk hidup yang abadi agar tahan mengalami hidup di <br />
dunia ini. Siti  Jenar kemudian mengajarkan bagaimana mencari kamoksan <br />
(mukswa/mosca)  yakni mati sempurna beserta raganya lenyap masuk ke <br />
dalam ruh (warongko  manjing curigo). Hidup ini mati, karena mati itu <br />
hidup yang sesungguhnya  karena manusia bebas dari segala beban dan <br />
derita. Karena hidup sesudah  kematian adalah hidup yang sejati, dan <br />
abadi.<br /><br />
<br /><br />
<br /><br />
<b>Syeh Siti Jenar Mengkritik Ulama dan Para Santrinya</b><br /><br />
<br /><br />
     Alasan yang mendasari mengapa Syeh Siti Jenar mengkritik  <br />
habis-habisan para ulama dan santrinya karena dalam kacamata Syeh Siti, <br />
 mereka hanya berkutat pada amalan syariat (sembah raga). Padahal masih <br />
 banyak tugas manusia yang lebih utama harus dilakukan untuk mencapai  <br />
tataran kemuliaan yang sejati. Dogma-dogma, dan ketakutan neraka serta  <br />
bujuk rayu surga justru membelenggu raga, akal budi, dan jiwa manusia.  <br />
Maka manusia menjadi terkungkung rutinitas lalu lupa akan tugas-tugas  <br />
beratnya. Manusia demikian menjadi gagal dalam upaya menemukan Tuhannya.<br />
  <br /><br />
<br /><br />
<br /><br />
<b>Kritik Syeh Lemah Bang Atas Konsep Surga-Neraka</b><br /><br />
<br /><br />
     Konsep surga-neraka dalam ajaran Siti Jenar berbeda sekali dengan <br />
apa  yang diajarkan oleh para ulama. Menurut Syeh Siti Jenar, surga dan <br />
 neraka adalah dalam hidup ini. Sementara para ulama mengajarkan surga  <br />
dan neraka merupakan balasan yang diberikan kepada manusia atas amalnya <br />
 yang bakal diterima kelak sesudah kematian (akherat).<br /><br />
<br /><br />
    Menurut  Syeh Siti, orang mukmin telah keliru karena mengerjakan <br />
shalat jungkir  balik, mengharap-harap surga, sedang surga sesudah <br />
kematian itu tidak  ada, shalat itu tidak perlu dan orang tidak perlu <br />
mengajak orang lain  untuk shalat. Shalat minta apa, minta rizki ? Tuhan<br />
 toh tidak memberi  lantaran shalat.<br /><br />
<br /><br />
    Santri yang menjual ilmu dengan siapa pun  mau menyembah Tuhan di <br />
masjid, di dalamnya terdapat Tuhan yang bohong.  Para ulama telah <br />
menyesatkan manusia dengan menipu mereka jungkir balik  lima kali, pagi,<br />
 siang, sore, malam hanya untuk memohon-mohon imbalan  surga kelak. <br />
Sehingga orang banyak tergiur oleh omongan palsunya, dan  orang menjadi <br />
gelisah tak enak ketika terlambat mengerjakan shalat.  Orang seperti itu<br />
 sungguh bodoh dan tak tau diri, jikalau pun seseorang  menyadari bahwa <br />
shalat itu dilakukan karena merupakan kebutuhan diri  manusia sendiri <br />
untuk menyembah Tuhannya, manusia ternyata tidak  menyadari <br />
keserakahannya; dengan minta-minta imbalan/hadiah surga.  Orang-orang <br />
telah terbius oleh para ulama, sehingga mereka suka  berzikir, dan <br />
disibukkan oleh kegiatan menghitung-hitung pahalanya tiap  hari. <br />
Sebaliknya, lupa bahwa sejatinya kebaikan itu harus  diimplementasikan <br />
kepada sesama (habluminannas).<br /><br />
<br /><br />
    Lebih  lanjut Syekh Siti Jenar menuduh para ulama dan murid mereka <br />
sebagai  orang dungu dan dangkal ilmu, karena menafsirkan surga sebagai <br />
balasan  yang nanti diterima di akhirat. Penafsiran demikian adalah <br />
penafsiran  yang sangat sempit. Hidup para ulama adalah hidup asal <br />
hidup, tidak  mengerti hakekat, tetapi jika disuruh mati mereka menolak <br />
mentah-mentah.  Surga dan neraka letaknya pada manusia masing-masing. <br />
Orang bergelimang  harta, hidupnya merasa selalu terancam oleh para <br />
pesaing bisnisnya,  tidur tak nyeyak, makan tak enak, jalan pun gelisah,<br />
 itulah neraka.  Sebaliknya, seorang petani di lereng gunung terpencil, <br />
hasil bercocok  tanam cukup untuk makan sekeluarga, menempati rumah <br />
kecil yang tenang,  tiap sore dapat duduk bersantai di halaman rumah <br />
sambil memandang  hamparan sawah hijau menghampar, hatinya sesejuk <br />
udaranya, tenang  jiwanya, itulah surga. Kehidupan ini telah memberi <br />
manusia mana surga  mana neraka.<br /><br />
<br /><br />
    Syeh Siti Jenar memandang alam semesta sebagai  makrokosmos dan <br />
mikrokosmos (manusia) sekurangnya kedua hal ini  merupakan barang baru <br />
ciptaan Tuhan yang sama-sama akan mengalami  kerusakan, tidak kekal dan <br />
tidak abadi. Manusia terdiri  atas jiwa dan  raga yang intinya ialah <br />
jiwa sebagai penjelmaan zat Tuhan.<br /><br />
<br /><br />
     Sedangkan raga adalah bentuk luar dari jiwa yang dilengkapi <br />
pancaindera,  sebagai organ tubuh seperti daging, otot, darah, dan <br />
tulang. Semua  aspek keragaan atau ketubuhan adalah barang pinjaman yang<br />
 suatu saat,  setelah manusia terlepas dari kematian di dunia ini, akan <br />
kembali  berubah asalnya yaitu unsur bumi (tanah).<br /><br />
<br /><br />
Syeh Lemah Bang, mengatakan bahwa;<br /><br />
     “Bukan kehendak angan-angan, bukan ingatan, pikiran atau niat, hawa<br />
  nafsu pun bukan, bukan pula kekosongan atau kehampaan. Penampilanku  <br />
sebagai mayat baru, andai menjadi gusti jasadku dapat busuk bercampur  <br />
debu, nafasku terhembus di segala penjuru dunia, tanah, api, air,  <br />
kembali sebagai asalnya, yaitu kembali menjadi baru. Bumi langit dan  <br />
sebagainya adalah kepunyaan seluruh manusia, manusialah yang memberi  <br />
nama”.<br /><br />
<br /><br />
 <b>Kesimpulan</b><br /><br />
<br /><br />
    Pandangan Syeh Lemah Bang;  tentang terlepasnya manusia dari <br />
belenggu alam kematian yakni hidup di  alam dunia ini, berawal dari <br />
konsepnya tentang  ketuhanan, manusia dan  alam. Manusia adalah jelmaan <br />
zat Tuhan. Hubungan jiwa dari Tuhan dan  raga, berakhir sesudah  manusia<br />
 menemui ajal atau kematian duniawi.  Sesudah itu manusia bisa manunggal<br />
 dengan Tuhan dalam keabadian. Pada  saat itu semua bentuk badan wadag <br />
(jasad) atau kebutuhan jasmanisah  ditinggal karena jasad merupakan <br />
barang baru (hawadist) yang dikenai  kerusakan dan semacam barang <br />
pinjaman yang harus dikembalikan kepada  yang punya yaitu Tuhan sendiri.<br /><br />
<br /><br />
    Terlepas dari ajaran Siti  Jenar yang sangat ekstrim memandang dunia<br />
 sebagai bentuk penderitaan  total yang harus segera ditinggalkan <br />
rupanya terinspirasi oleh ajaran  seorang sufi dari Bagdad, Hussein Ibnu<br />
 Al Hallaj, yang menolak segala  kehidupan dunia. Hal ini berbeda dengan<br />
 konsep Islam secara umum yang  memadang hidup di dunia sebagai khalifah<br />
 Tuhan.<br /><br />
<br /><br />
<br /><br />
<b>Pandangan Kejawen Tentang Kehidupan di Dunia</b><br /><br />
<br /><br />
Pandangan  Kejawen tentang makna hidup manusia  dunia ditampilkan secara<br />
 rinci,  realistis, logis dan mengena di dalam hati nurani; bahwa hidup <br />
ini  diumpamakan hanya sekedar mampir ngombe, mampir minum, hidup dalam <br />
waktu  sekejab, dibanding kelak hidup di alam keabadian setelah raga ini<br />
 mati.  Tetapi tugas manusia sungguh berat, karena jasad adalah pinjaman<br />
 Tuhan.  Tuhan meminjamkan raga kepada ruh, tetapi ruh harus  <br />
mempertanggungjawabkan “barang” pinjamannya itu. Pada awalnya Tuhan Yang<br />
  Mahasuci meminjamkan jasad kepada ruh dalam keadaan suci, apabila <br />
waktu  “kontrak” peminjaman sudah habis, maka ruh diminta <br />
tanggungjawabnya,  ruh harus mengembalikan jasad pinjamannya dalam <br />
keadaan yang suci  seperti semula. Ruh dengan jasadnya diijinkan Tuhan <br />
“turun” ke bumi,  tetapi dibebani tugas yakni menjaga barang pinjaman <br />
tersebut agar dalam  kondisi baik dan suci setelah kembali kepada <br />
pemiliknya, yakni Gusti  Ingkang Akaryo Jagad. Ruh dan jasad menyatu <br />
dalam wujud yang dinamakan  manusia. Tempat untuk mengekspresikan dan <br />
mengartikulasikan diri manusia  adalah tempat pinjaman Tuhan juga yang <br />
dinamakan bumi berikut segala  macam isinya; atau mercapada. Karena bumi<br />
 bersifat “pinjaman” Tuhan,  maka bumi juga bersifat tidak kekal.<br /><br />
<br /><br />
Betapa Maha Pemurahnya  Tuhan itu, bersedia meminjamkan jasad, berikut <br />
tempat tinggal dan segala  isinya menjadi fasilitas manusia boleh <br />
digunakan secara gratis. Tuhan  hanya menuntut tanggungjawab manusia <br />
saja, agar supaya menjaga semua  barang pinjaman Tuhan tersebut, serta <br />
manusia diperbolehkan memanfaatkan  semua fasilitas yang Tuhan sediakan <br />
dengan cara tidak merusak barang  pinjaman dan semua fasilitasnya.<br /><br />
<br /><br />
Itulah tanggungjawab manusia  yang sesungguhnya hidup di dunia ini; <br />
yakni menjaga barang “titipan”  atau “pinjaman”, serta boleh <br />
memanfaatkan semua fasilitas yang  disediakan Tuhan untuk manusia dengan<br />
 tanpa merusak, dan tentu saja  menjaganya agar tetap utuh, tidak rusak,<br />
 dan kembali seperti semula  dalam keadaan suci. Itulah “perjanjian” <br />
gaib antara Tuhan dengan manusia  makhlukNya. Untuk menjaga klausul <br />
perjanjian tetap dapat terlaksana,  maka Tuhan membuat rumus atau <br />
“aturan-main“ yang harus dilaksanakan oleh  pihak peminjam yakni <br />
manusia. Rumus Tuhan ini yang disebut pula sebagai  kodrat Tuhan; <br />
berbentuk hukum sebab-akibat. Pengingkaran atas isi atau  “klausul <br />
kontrak” tersebut berupa akibat sebagai konsekuensi logisnya.  Misalnya;<br />
 keburukan akan berbuah keburukan, kebaikan akan berbuah  kebaikan pula.<br />
 Barang siapa menanam, maka mengetam. Perbuatan suka  memudahkan akan <br />
berbuah sering dimudahkan. Suka mempersulit akan berbuah  sering <br />
dipersulit. </div></div></div>

AJARAN SYEH SITI JENAR dan KEJAWEN

Dalam Memandang Ketuhanan, Dosa/Neraka, Pahala/Surga)PERBANDINGAN ANTARA AJARAN SYEH SITI JENAR Dan PANDANGAN KEJAWEN Mengenai Ketuhanan, Alam, dan Manusia Syeh Siti Jenar (Lemah Abang) dalam Mengenal…

09 May 2014

12 Falsafah Jawa untuk Membangun Kedamaian dlm Hidup

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<b>1. URIP IKU URUP</b></div>
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[Hidup itu nyala, hidup itu hendaknya memberi manfaat bagi orang lain di sekitar kita]</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>2. MEMAYU HAYUNING BAWONO, AMBRASTA DUR HANGKORO</b></div>
<div style="text-align: right;">
[Harus mengusahakan keselamatan, kebahagiaan dan kesejahteraan serta memberantas sifat angkara murka, serakah dan tamak]</div>
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<br /></div>
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<b>3. SURA DIRA JOYONINGRAT, LEBUR DENING PANGASTUTI</b></div>
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[Segala sifat keras hati, picik, angkara murka hanya bisa dikalahkan dengan sikap bijak, lembut hati dan sabar]</div>
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<br /></div>
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<b>4. NGLURUK TANPO BOLO, MENANG TANPA NGASORAKE, SEKTI TANPA AJI-AJI, SUGIH TANPA BONDHO</b></div>
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[Berjuang tanpa perlu membawa massa, Menang tanpa merendahkan / mempermalukan, Berwibawa tanpa mengandalkan kekuasaan/kekuatan/kekayaan/ keturunan, Kaya tanpa didasari hal2 yg bersifat materi]</div>
<div style="text-align: justify;">
<br /></div>
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<b>5. DATAN SERIK LAMUN KETAMAN, DATAN SUSAH LAMUN KELANGAN</b></div>
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[Jangan gampang sakit hati manakala musibah menimpa diri, Jangan sedih/susah manakala kehilangan sesuatu]</div>
<div style="text-align: justify;">
<br /></div>
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<b>6. OJO GUMUNAN, OJO GETUNAN, OJO KAGETAN, OJO ALEMAN LAN OJO GELEMAN</b></div>
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[Jangan mudah terheran-heran, Jangan mudah menyesal, Jangan mudah terkejut dgn sesuatu, Jangan kolokan atau manja dan Jangan Mau yang Bukan Haknya ]</div>
<div style="text-align: justify;">
<br /></div>
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<b>7. OJO KETUNGKUL MARANG KALUNGGUHAN, KADONYAN LAN KEMAREMAN</b></div>
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[Janganlah terobsesi atau terkungkung dengan kedudukan, materi dan kepuasan duniawi]</div>
<div style="text-align: justify;">
<br /></div>
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<b>8. OJO KUMINTER MUNDAK KEBLINGER, AJA CIDRA MUNDAK CILAKA</b></div>
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[Jangan merasa paling pandai agar tidak salah arah, Jangan suka berbuat curang agar tidak celaka]</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>9. OJO MILIK BARANG KANG MELOK, AJA MANGRO MUNDAK KENDHO</b></div>
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[Jangan tergiur oleh hal2 yg tampak mewah, cantik, indah dan jangan berfikir gamang/plin-plan agar tidak kendor niat dan kendor semangat]</div>
<div style="text-align: justify;">
<br /></div>
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<b>10. OJO ADIGANG, ADIGUNG, ADIGUNO</b></div>
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[Jangan sok kuasa, sok besar/kaya, sok sakti / Pintar ].</div>
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<br /></div>
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<b>11. ALANG ALANG DUDU ALING ALING , MARGINING KAUTAMAN.</b></div>
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[Persoalan persoalan dlm kehidupan bukan penghambat, jalannya kesempurnaan].</div>
<div style="text-align: justify;">
<br /></div>
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<b>12. SOPO WERUH ING PANUJU sasat SUGIH PAGER WESI.</b></div>
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[Dalam kehidupan siapa yg punya Cita2 luhur, jalannya seakan tertuntun ]</div>
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kivandanu. </div>
</div>

12 Falsafah Jawa untuk Membangun Kedamaian dlm Hidup

1. URIP IKU URUP [Hidup itu nyala, hidup itu hendaknya memberi manfaat bagi orang lain di sekitar kita] 2. MEMAYU HAYUNING BAWONO, AMBRASTA DUR HANGKORO [Harus mengusahakan keselamatan, kebahagiaan d…

15 Jan 2014

Javanese Gamelan Glossary at the National Music Museum

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<tr><td align="right" width="25%"><span style="font-size: small;"><img alt="National Music Museum Logo" src="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/nmmlogo5.jpg" /></span> </td> <td width="3%"><br /></td> <td align="center" width="52%"><span style="font-size: small;"><img alt="National Music Museum" height="30" src="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/nmmname2.jpg" width="400" /></span>     </td> <td><br /></td> </tr>
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<table style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td width="1%"></td><td style="text-align: center;" width="97%"><h2>
       Glossary of Terms     Relating to the<br />
<i>Kyai Rengga Manis Everist</i> Gamelan      </h2>
<img alt="The USD Gamelan Ensemble rehearses with a selection of slendro instruments from the gamelan, Kyai Rengga Manis Everist, by Ud Soepoyo, Surakarta, Central Java, 1999" border="0" height="464" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/Ensemble/GreatMuseumsGamelanrehearsalwideshot.jpg" width="600" /> <br />
<h4>
  <div>
The USD Gamelan Ensemble rehearses with a selection of  slendro instruments from the gamelan, <i>Kyai Rengga Manis Everist</i>  by Ud Soepoyo, Surakarta, Central Java, Indonesia, 1999,  in the Beede  Gallery.  Purchase funds gift of Margaret Ann Everist, Sioux City, Iowa,  1999.</div>
<hr style="margin-left: auto; margin-right: auto;" />
 <div>
What does the NMM's gamelan sound like? Listen to musical excerpts from the CD, <a href="http://orgs.usd.edu/nmm/GiftShop/CDs/GamelanCD.html"><i>Sayuk:  Together in Harmony</i></a>, recorded at the NMM in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.</div>
<ul>
<li>Ladrang, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sri%20Wibowo.mp3">Sri Wibowo-Srepeg</a></i>, Laras Slendro Pathet Songo (1904)</li>
<li>Lagu, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Pemut.mp3">Pemut</a></i>, Laras Pelog Pathet Enem by Joko Sutrisno (2007)</li>
<li>Lancaran, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno</li>
</ul>
</h4>
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<h4>
Glossary of Terms Relating to the <i>Kyai Rengga Manis Everist</i> Gamelan</h4>
<table style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td height="513" width="237"><h4>
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Balungan">Balungan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Bedhug">Bedhug</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Bonang%20Barung">Bonang Barung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Bonang%20Panembung">Bonang Panembung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Buka">Buka</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Celempung">Celempung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Colotomic">Colotomic Structure </a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Dhalang">Dhalang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Elaborating">Elaborating Instruments </a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Engkuk">Engkuk</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gambang">Gambang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gatra">Gatra</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gender%20Barung">Gender Barung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gender%20Panerus">Gender Panerus</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gendhing">Gendhing</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gendhing%20Bonang">Gendhing Bonang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gerong">Gerong</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gong%20Ageng">Gong Ageng</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gong%20Siyem">Gong Siyem</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Gong%20Suwukan">Gong Suwukan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Irama">Irama</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Irama%20Dados">Irama Dados</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Irama%20Tanggung">Irama Tanggung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kecer%20Wayang">Kecer Wayang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kemanak">Kemanak</a><br />
</h4>
</td> <td width="230"><h4>
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Engkuk">Kemong</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kempiang">Kempiang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kempul">Kempul</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Ageng">Kendhang Ageng</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Ciblon">Kendhang Ciblon</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Kalih">Kendhang Kalih</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Ketipung">Kendhang Ketipung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Satu">Kendhang Satu</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kendhang%20Wayang">Kendhang Wayang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kenong">Kenong</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kenong%20Japan">Kenong Japan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kenthogan">Kenthogan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Keprak">Keprak</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Ketawang">Ketawang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kethoprak">Kethoprak</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kempiang">Kethuk</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Klenengan">Klenengan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kotak%20Tabuh">Kotak Tabuh</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Ladrang">Ladrang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Lancaran">Lancaran</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Laras">Laras</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Laras%20Pelog">Laras Pelog</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Laras%20Slendro">Laras Slendro</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Naga">Naga</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Ngelik">Ngelik</a>     </h4>
</td>  <td width="183"><h4>
  <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Pelog">Pelog</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Pesinden">Pesinden</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Racikan">Racikan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Rebab">Rebab</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Sampak">Sampak</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Barung">Saron Barung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Demung">Sarong Demung</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Nyacah">Saron Nyacah</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Panerus">Saron Panerus (Peking)</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Saron%20Wayang">Saron Wayang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Sekaten">Sekaten</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Selamatan">Selamatan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Seleh">Seleh</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Siter">Siter</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slametan">Slametan</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slendro">Slendro</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slenthem">Slenthem</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slentho">Slentho</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Srepeg">Srepeg</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Suling">Suling</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Tabuh">Tabuh</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Tari">Tari</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Wayang">Wayang</a><br />
<a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Wayang%20Kulit">Wayang Kulit</a> </h4>
</td></tr>
</tbody></table>
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<h4>
<a href="http://www.blogger.com/null" name="Balungan"></a><br />  BALUNGAN <div>
Definition:   lit., 'skeleton,' 'frame.' The basic or  skeletal melody in gamelan music. This basic melody is an abstraction  of the melody played by the elaborating instruments.   The balungan is  played by the slenthem, demung, and saron barung.</div>
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 <a href="http://www.blogger.com/null" name="Bedhug"></a><br />BEDHUG<div>
Function:  In gamelan Sekaten, the bedhug gives the  cues for tempo changes, acts as a phrase divider and emphasizes the  strong seleh (resolution notes) during the racikan (long introduction),  and performs a colotomic function similar to the kempul once the  introduction is over and the actual piece of music has started.  In  other kinds of music, the bedhug can be used to emphasize the strong  tones of the kendhang ageng.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bedhug">description</a> of bedhug in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the bedhug is played using a soft-tipped mallet hit at the center of the drumhead.</div>
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<a href="http://www.blogger.com/null" name="Bonang Barung"></a> <br />BONANG BARUNG<div>
Function:  The bonang barung is both an elaborating,  as well as a leading instruments.  Similar to the rebab and gender  barung, the bonang barung can play the buka or introduction to a piece  of music.  As in the case of the buka rebab and gender, players are  expected to know the introduction and be able to follow without being  told in advance what piece will be played.  In a special kind of music  known as gendhing bonang, the bonang barung plays a prominent role in  leading the melody.  In this type of music the rebab and gender are not  played.  The patterns that are played by the bonang barung depend on the  irama or tempo structure.  The patterns can be derived from the  balungan or basic melody of the saron; however. it is more appropriate  to say that the balungan is derived from the bonang patterns (and also  the melody of the rebab and gender barung) and not the other way around.   Similar to the gander barung, there is a changing of the number of  beats played by the bonang in relation to the balungan (basic melody)  played by the saron and slenthem when the irama (tempo structure)  changes.  For example, in irama tanggung there are eight bonang beats  for every four of the saron, whereas, in irama dados, there are sixteen  bonang beats for every four of the basic melody.  It is the basic melody  tempo that slows down to accommodate these further elaborations of the  melody by the bonang barung.  The upper row of pots is considered to be  female, while the lower octave is male.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Barung">description</a> of bonang barung in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the bonang barung is played with  the soft end of two mallets.  The player sits on the side with the  lowest octave pots.  The previous note will be dampened as the next is  played using the mallet’s soft end unless the instrument is mature  enough that the pots only ring briefly, or unless the music is too  complex for all the notes to be dampened effectively.</div>
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<a href="http://www.blogger.com/null" name="Bonang Panembung"></a> <br />BONANG PANEMBUNG<div>
Function:   The bonang panembung is traditionally  played almost exclusively in ceremonial music.  This includes weddings  and ceremonial court music.  Its role is to reinforce the basic melody  or balungan played by the saron and to signal the gong.  The upper row  of pots is considered to be the female, while the lower octave is the  male.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Panembung">description</a> of bonang panembung in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the bonang panembung is played  with the soft end of two mallets.  The player sits on the side with the  lowest octave pots.  The previous note is dampened as the next is played  using the mallet’s soft end.</div>
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<a href="http://www.blogger.com/null" name="Bonang Panerus"></a> <br />BONANG PANERUS<div>
Function:   The bonang panerus plays patterns  that are derivative of the bonang barung patterns, usually twice as fast  and occurring on what in Western musical terms might be considered the  off beat.  The bonang panerus player must follow the lead of the bonang  barung player even though it often begins its patterns slightly before  the bonang barung player.  The patterns that are played by the bonang  panerus depend on the irama or tempo structure, similar to the bonang  barung. The upper row of pots is considered to be the female, while the  lower octave is male.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Panerus">description</a> of bonang panerus in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the bonang panerus is played  with using the soft end of two mallets.  The player sits on the side  with the lowest octave pots.  The previous note is dampened as the next  is played using the mallet’s soft end unless the instrument is mature  enough that the pots only ring briefly, or unless the music is too  complex for all the notes to be dampened effectively.</div>
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 <a href="http://www.blogger.com/null" name="Buka"></a><br />  BUKA <div>
Definition:   the opening phrase or introduction of a gamelan composition (gendhing).</div>
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<a href="http://www.blogger.com/null" name="Celempung"></a> <br />CELEMPUNG<div>
Function:   The celempung is an elaborating  instrument.  Its role is similar to that of the siter—filling in with  ornate patterns based on the balungan (basic melody) and the irama  (tempo structure).  The clempung, siter, and gambang all play the same  number of beats in relation to each measure of the balungan melody.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Celempung">description</a> of celempung in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:  the celempung is played the same  way as the siter—sitting on the floor facing the smaller end of the  instrument, the player plucks the strings with the nails of both thumbs.   Long thumbnails are essential.</div>
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<a href="http://www.blogger.com/null" name="Colotomic"></a> <br />  COLOTOMIC STRUCTURE <div>
Definition:   (from Greek, <i>kolon</i>:  'section'  or 'limb')   A term used by ethnomusicologist, Jaap Kunst (1934), to  describe the phrase structure of a gendhing, or composition, for  gamelan.  Gongs are played to mark the major sections of a gamelan  composition, such as at the beginning and the end, as well as at various  subsections and phrases.  According to "Colotomic structure  [colotomy]," <a href="http://www.grovemusic.com/"><i>Grove Music Online</i></a>  ed. L. Macy (Accessed 05 May 2006), "Over a dozen different colotomic  structures are in regular use, each with its own name such as <i>ladrang</i> and <i>ketawang</i>.  A specific drum part is associated with each colotomic structure."</div>
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<a href="http://www.blogger.com/null" name="Dhalang"></a> <br />  DHALANG <div>
Definition:  the puppeteer in the wayang kulit (shadow puppet) performance.</div>
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<a href="http://www.blogger.com/null" name="Elaborating"></a> <br />  ELABORATING INSTRUMENTS <div>
Definition:   The instruments providing melodic  elaboration in the Javanese gamelan include the bonang barung, bonang  panerus, gambang, gender barung, gender panerus, celempung, and siter.</div>
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<a href="http://www.blogger.com/null" name="Engkuk"></a> <br />  ENGKUK / KEMONG  <div>
Function:   The engkuk/kemong is not frequently  used in gamelan music today.  It is a structure instrument similar to  the kempiang/kethuk and the kenong.  Its function is to play at specific  places within a composition depending upon its structure.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Engkuk">description</a> of engkuk in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:  the engkuk/kemong is played with  mallets like the kethuk/kempiang or kenong.  The player sits on the  floor and strikes the node (or highest point) of the pot with the soft  end of the mallet.</div>
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<a href="http://www.blogger.com/null" name="Gambang"></a> <br />GAMBANG<div>
Function:  The gambang is an elaborating  instrument.  Its role is similar to that of the siter or gender  panerus—filling in with ornate patterns based on the balungan (melody)  and the irama (tempo structure).  The gambang, celempung, and siter all  play the same number of beats in relation to each measure of the  balungan.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gambang">description</a> of gambang in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:   the player sits on the floor in  front of the instrument with the high octaves (shorter keys) to the  right.  One mallet is held in each hand and the bars are struck with the  soft end.</div>
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<a href="http://www.blogger.com/null" name="Gatra"></a> <br />  GATRA <div>
Definition:  lit., 'embryo.' Metrical unit of a gamelan piece (gendhing), consisting of four beats.</div>
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<a href="http://www.blogger.com/null" name="Gender Barung"></a> <br />GENDER BARUNG<div>
Function:  The gender barung is one of the most  important  and, at the same time, one of the most difficult instruments  to play in the Javanese gamelan.  Its role is to fill in the basic  melody with more elaborate and ornamental parts, but, it may also serve  as a leader in playing the buka (introductory phrase) to a piece of  music and signaling transitions to different melodic sections in a  composition.  The gender barung player must pay close attention to the  rebab.  The relationship between the rebab and the gender barung is  complex: it both follows and leads the rebab in articulating the  movement of the melody.  There are many styles of playing the gender  barung depending upon the region and the individual player.  The  rhythmic relationship of the gender barung to the basic melody  (balungan), played by the saron barung, saron demung, and slenthem,  varies from 8 beats per 4-beat measure (gatra) of the basic melody, to  16, to 32, to 64, and so on.  These different rhythmic relationships  (irama) are accompanied by a slowing of the tempo of the basic melody.   For example, when the gender barung plays 16 beats for every four beats  of the basic melody, the tempo of the basic melody is twice as slow as  when the gender plays 8 beats for every four of the basic melody.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gender%20Barung">description</a> of gender barung in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:  The gender barung is played with  both hands, holding the thin end of the mallet and striking the keys  with the padded end.  The right and left hands play different notes and  rhythms.  The previous note is dampened after the next note is played.   The left hand dampens the note by using the padding of the hand below  the small finger, while the right hand dampens using the thumb and small  finger.</div>
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<a href="http://www.blogger.com/null" name="Gender Panerus"></a> <br />GENDER PANERUS<div>
Function:  The gender panerus is one of the  gamelan’s elaborating instruments.  It is similar in its appearance to  the gender barung but its range extends one octave higher.  Unlike the  gender barung, the gender panerus does not serve as a melody leader but  simply as ornamentation.  Its rhythm is usually even and without  syncopation and it fills the spaces between the basic melody notes of  the balungan played by the saron barung, demung, and slenthem.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gender%20Panerus">description</a> of gender panerus in the <i>Kyai Rengga Manis Everist</i> gamelan.  <div>
Playing technique:    The gender panerus is played with two hands, each note dampened when the following note is played.  </div>
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<a href="http://www.blogger.com/null" name="Gendhing"></a> <br />  GENDHING <div>
Definition:   generic term for any gamelan  composition.  It can also be used to refer to a specific type of formal  musical structure in gamelan music.     Listen to a  musical excerpt  from the gendhing, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Titipati.mp3">Titipati</a></i>, Kethuk 2 Kerep Minggah 4, Laras Slendro Pathet Enem (ca. 1820-1823), recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota. </div>
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<a href="http://www.blogger.com/null" name="Gendhing Bonang"></a> <br />  GENDHING BONANG <div>
Definition:   a gamelan composition in which the  bonang both plays the introduction and is the principal melodic  instrument.  In gendhing bonang, the other usual elaborating instruments  do not play.</div>
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<a href="http://www.blogger.com/null" name="Gerong"></a> <br />  GERONG <div>
Definition:   a unison male chorus that sings with the gamelan.</div>
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<a href="http://www.blogger.com/null" name="Gong Ageng"></a> <br />GONG AGENG<div>
Function:  The gong ageng is considered the  father or master of the gamelan. This particular gong is treated with  great respect, including the offering of flowers and food during  performances and ceremonies.  Music usually begins and ends with the  gong ageng.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Ageng">description</a> of gong ageng in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    The gong ageng is played by hitting the node of the instrument with the soft end of the mallet.</div>
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<a href="http://www.blogger.com/null" name="Gong Siyem"></a> <br />GONG SIYEM<div>
Function:  The gong siyem is a structure  instrument that plays in designated places within a composition  and relative to the patterns played by the kempiang/kethuk, kenong, and  kempul.  This gong can be used in place of a gong ageng.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Siyem">description</a> of gong siyem in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    The gong siyem is played by hitting the node with the soft end of the mallet.</div>
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<a href="http://www.blogger.com/null" name="Gong Suwukan"></a> <br />GONG SUWUKAN<div>
Function:  The gong suwukan is a structure  instrument that plays in designated places within a composition,  relative to the patterns played by the kempiang/kethuk, kenong, and  kempul.  In many compositions, there are multiple phrases ending with  the playing of the gongs and the entire series of phrases can be  repeated many times.  This gong is used when there are multiple gongs  within a piece of music and is not normally used at the beginning, end,  or as the last gong of a repeated series of gongs.  The gong suwukan can  also be used to emphasize certain melodic phrases within a gong phrase.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Suwukan">description</a> of gong suwukan in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    The gong suwukan is played by hitting the node with the soft end of the mallet.</div>
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<a href="http://www.blogger.com/null" name="Irama"></a> <br />  IRAMA <div>
Definition:   tempo structure and relationships in a gendhing (gamelan piece).</div>
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<a href="http://www.blogger.com/null" name="Irama Dados"></a> <br />  IRAMA DADOS <div>
Definition:   In the tempo structure, irama dados, there are sixteen bonang beats for every four of the basic melody.</div>
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<a href="http://www.blogger.com/null" name="Irama Tanggung"></a> <br />  IRAMA TANGGUNG <div>
Definition:   In the tempo structure, irama tanggung, there are eight bonang beats for every four of the saron.</div>
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<a href="http://www.blogger.com/null" name="Kecer Wayang"></a> <br />KECER WAYANG<div>
Function:  The kecer wayang is most often used in  music for the wayang kulit, the Javanese shadow puppet theater.  It is  usually played in a steady, but rapid rhythm.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kercer%20Wayang">description</a> of kercer wayang in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    The kecer wayang is held with  two hands, one holding each of the free cymbals that are used to strike  the cymbals attached to the frame.  The hands never move far away from  the frame.</div>
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<a href="http://www.blogger.com/null" name="Kemanak"></a> <br />KEMANAK<div>
Function:  The kemanak is used primarily in  ceremonial music.  Its role is somewhat similar to the structure  instruments such as kempiang/kethuk. Although its role is considered  that of one instrument, two kemanaks are usually played together.  </div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kemanak">description</a> of kemanak in the <i>Kyai Rengga Manis Everist</i> gamelan.   <div>
Playing technique:    Players hold the kemanak in one  hand and strike it near the slit.  The kemanak is then swung upward in  an arcing motion while players press their thumbs against the opening,  near the base, to mute the sound.</div>
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 <br />KEMONG (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Engkuk">ENGKUK</a>)<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Kempiang"></a> <br />KEMPIANG AND KETHUK<div>
Function:  The kempiang/kethuk is often referred  to as a structure instrument. Its function is to play at specific places  within a composition depending upon the structure of the music. Some  commonly played structures are lancaran, ketawang, ladrang, gendhing,  srepeg, and sampak. In each of these structures the kethuk/kempiang has  assigned places in which it is to play that are related to the patterns  of the kenong, kempul, and gong. In some structures it also plays a  variation on its pattern to cue the gong.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempiang">description</a> of kempiang in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:     The kethuk/kempiang can be  played with one or two mallets. The player sits on the floor and strikes  the node of the pot with the soft end of the mallet.</div>
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         <a href="http://www.blogger.com/null" name="Kempul"></a><br />
<br />KEMPUL<div>
Function:  The kempul is a structure instrument.   It plays in designated places within a composition depending on the  structure of the music and relative to the patterns played by the  kempiang/kethuk, kenong, and gong.  </div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempul">description</a> of kempul in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kempul is played by hitting the node with the soft end of the mallet.</div>
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         <a href="http://www.blogger.com/null" name="Kendhang Ageng"></a><br />
<br />KENDHANG AGENG<div>
Function:  The kendhang player shoulders a great  deal of responsibility in the gamelan, for the role of the kendhang is  to establish and maintain the tempo, to lead the gamelan through all  tempo changes within a piece of music, to decide whether or not to move  immediately from one piece of music into another without stopping, and  to signal the end of each piece.  The kendhang ageng can be played  together with the kendhang ketipung by the same player, an arrangement  known as kendhang kalih, or it can be played alone by one person, known  as kendhang satunggal or kendhang satu. Compared to the ciblon and  wayang, this kendhang is played with relatively little ornamentation and  is characterized by very deep, resonating sounds.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ageng">description</a> of kendhang ageng in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kendhang ageng is a hand drum played by using a variety of strokes on both heads. </div>
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         <a href="http://www.blogger.com/null" name="Kendhang Ciblon"></a><br />
<br />KENDHANG CIBLON<div>
Function:  The kendhang ciblon, capable of  producing a wide range of tones and volume, is frequently used to  accompany Javanese dance, or tari, and is also used in concert music  known as klenengan.  There is a specific style of playing this drum for  traditional dance that is very ornamental and elaborate, like the  kendhang wayang; however, the kendhang ciblon can also be used to play  the kendhang ageng patterns.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ciblon">description</a> of kendhang ciblon in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kendhang  ciblon is a hand drum played by using a variety of strokes on both heads. </div>
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<a href="http://www.blogger.com/null" name="Kendhang Kalih"></a> <br />  KENDHANG KALIH <div>
Definition:   lit., 'two drums.'  Describes the  playing of two drums by the same player, as the kendhang ageng with the  kendhang ketipung.</div>
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         <a href="http://www.blogger.com/null" name="Kendhang Ketipung"></a><br />
<br />KENDHANG KETIPUNG<div>
Function:  The kendhang ketipung can be played  together with the kendhang ageng by the same player, an arrangement  known as kendhang kalih, or it can be played alone by one person  accompanying the kendhang ageng player. Compared to the ciblon and  wayang, the kendhang is played with relatively little ornamentation.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ketipung">description</a> of kendhang ketipung in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kendhang ketipung is a hand drum played using a variety of strokes on both heads.</div>
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<a href="http://www.blogger.com/null" name="Kendhang Satu"></a> <br />  KENDHANG SATU or SATUNGGAL <div>
Definition:   lit., 'one drum.'  Used to describe one player playing one drum.</div>
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         <a href="http://www.blogger.com/null" name="Kendhang Wayang"></a><br />
<br />KENDHANG WAYANG<div>
Function:  The kendhang wayang is used in the  wayang kulit or Javanese shadow puppet theater, an art form always  accompanied by a gamelan.  This drum is used to create sound  accompaniment for the movements of the puppets by the dhalang or  puppeteer.  It can be played quite loudly and is capable of producing a  very wide range of tones and dynamics. There is a specific style of  playing this drum for shadow puppet theater, which can be very  ornamental and elaborate like the kendhang ciblon; however, the kendhang  wayang can also be used to play kendhang ageng patterns.  The kendhang  wayang can also be played in venues other than shadow puppet theater.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Wayang">description</a> of kendhang wayang in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kendhang  wayang is a hand drum played using a variety of strokes on both heads.</div>
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         <a href="http://www.blogger.com/null" name="Kenong"></a><br />
<br />KENONG<div>
Function:  The kenong is often referred to as a  structure instrument.  The function of the kenong is to play at specific  places within a composition depending upon the structure of that  composition. Some commonly played structures are lancaran, ketawang,  ladrang, gendhing, srepeg, and sampak.   In each of these structures the  kenong has assigned places in which it plays that are related to the  patterns of the kethuk, kempiang, kempul, and gong.  In modern Central  Javanese gamelan music, the kenong also follows and anticipates the  movements of the melody, paying close attention to areas of repeated  notes and transitions into the ngelik, or higher melodic section.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenong">description</a> of kenong in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kenong is usually played  with one mallet, but can be played with two if the music is very fast.   The player sits on the floor and strikes the node (or highest point) of  the pot with the soft end of the mallet.</div>
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         <a href="http://www.blogger.com/null" name="Kenong Japan"></a><br />
<br />KENONG JAPAN<div>
Function:  The kenong Japan is not often used in  gamelan music today.  It is a structure instrument similar to the  kenong.  Its function is to play at specific places within a composition  depending upon its structure.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenong%20Japan">description</a> of Kenong Japan in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The kenong Japan is played  with a mallet like the one used for the kenong.  The player sits on the  floor and strikes the node (or highest point) of the pot with the soft  end of the mallet.</div>
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         <a href="http://www.blogger.com/null" name="Kenthogan"></a><br />
<br />KENTHOGAN<div>
Function:  In the gamelan, the kenthongan is used  in the kethoprak, a Javanese dance drama.  It signals the cues for the  drummers and dancers.  Outside the context of gamelan, the  kenthongan  is used for announcing messages within villages and neighborhoods, such  as the death of a villager or the presence of intruders.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenthogan">description</a> of kenthogan in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:     The kenthogan is played by striking the wood near the slit with a stick.</div>
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         <a href="http://www.blogger.com/null" name="Keprak"></a><br />
<br />KEPRAK<div>
Function:  The keprak is used in Javanese wayang  kulit (shadow puppet theater) by the dhalang (puppeteer) to give sound  effects to puppet movements.  It can also be used to cue the musicians  to start, stop, and speed up the music.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Keprak">description</a> of keprak in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The keprak is played by  hanging the plates on the hook from the puppet box.  The dhalang  (puppeteer) manipulates the plates with the foot while seated  cross-legged.</div>
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<a href="http://www.blogger.com/null" name="Ketawang"></a> <br />  KETAWANG <div>
Definition:   one of the formal structures of a gamelan composition (gendhing).</div>
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    <a href="http://www.blogger.com/null" name="Kethoprak"></a><br />
<br />  KETHOPRAK <div>
Definition:   a Javanese historical dance drama that  derives its story lines and characters from real or semi-mythical  personalities.</div>
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         <br />
<br />KETHUK (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Kempiang">KEMPIANG</a>)<hr style="margin-left: auto; margin-right: auto;" />
         <a href="http://www.blogger.com/null" name="Klenengan"></a>  <br />
<br />KLENENGAN<div>
Definition:   A type of Javanese gamelan concert  music, played in a soft and contemplative style, used for listening  entertainment rather than for the accompaniment of a dramatic theatrical  event. </div>
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         <a href="http://www.blogger.com/null" name="Kotak Tabuh"></a><br />
<br />KOTAK TABUH<div>
Function:  Box in which mallets are stored.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kotak%20Tabuh">description</a> of Kotak Tabuh in the <i>Kyai Rengga Manis Everist</i> gamelan.          <br />
<br />
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Ladrang"></a><br />
<br />  LADRANG <div>
Definition:   one of the formal structures of a gamelan composition (gendhing). Listen to a  musical excerpt from the ladrang, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sri%20Wibowo.mp3">Sri Wibowo-Srepeg</a></i>, Laras Slendro Pathet Songo (1904), recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.  </div>
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Lancaran"></a><br />
<br />  LANCARAN <div>
Definition:   one of the formal structures of a  gamelan composition (gendhing).  Listen to a  musical excerpt from the  lancaran, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.  </div>
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Laras"></a><br />
<br />  LARAS <div>
Definition:   refers to a tuning system or a pitch.   Listen to a  musical excerpt played in the laras tuning system: <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota. </div>
<hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Laras Pelog"></a><br />
<br />  LARAS PELOG (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Pelog">PELOG</a>) <hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Laras Slendro"></a><br />
<br />  LARAS SLENDRO (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Slendro">SLENDRO</a>) <hr style="margin-left: auto; margin-right: auto;" />
    <a href="http://www.blogger.com/null" name="Naga"></a><br />
<br />  NAGA <div>
Definition:  The <a href="http://orgs.usd.edu/nmm/Gamelan/9882/gamelandrum.html#Naga">naga (dragon)</a> is a traditional royal symbol from Central Java.   Many of the frames for the <i>Kyai Rengga Manis Everist</i>  gamelan are carved with nagas, their crowned heads facing outward and  their tails coiled together at the center.  The nagas’ mouths are  typically open and  individual teeth are carved, along with a forked  tongue.  Each naga has what appears to be a collar or stylized hair and  beard curling out from under the head.  The body arches into an arc  twice before the tails coil and meet.   </div>
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    <a href="http://www.blogger.com/null" name="Ngelik"></a><br />
<br />  NGELIK <div>
Definition:   melodic movement to a higher register in gamelan music.</div>
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<a href="http://www.blogger.com/null" name="Pelog"></a> <br />PELOG<div>
Definition:   the Javanese tuning system in which the  octave is divided into seven intervals.  A full gamelan set employs  both tuning systems—slendro and pelog—although the two sets are never  played simultaneously.  The <i>Kyai Rengga Manis Everist</i> gamelan is such a full gamelan set.  Listen to a  musical excerpt played in the pelog tuning system: <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.</div>
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<a href="http://www.blogger.com/null" name="Pesinden"></a> <br />PESINDEN<div>
Definition:   a solo female singer in the gamelan.</div>
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<a href="http://www.blogger.com/null" name="Racikan"></a> <br />RACIKAN<div>
Definition:  a long introduction.  In gamelan  Sekaten, the bedhug gives the cues for tempo changes, acts as a phrase  divider and emphasizes the strong seleh (resolution notes) during the  racikan (long introduction).</div>
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         <a href="http://www.blogger.com/null" name="Rebab"></a><br />
<br />REBAB<div>
Function:  The rebab is, in many ways, the melody  leader.  It plays a more lyrical melody than that of the basic or  skeletal melody instruments like the slenthem and it articulates the  high and low tones that the slenthem and saron are not able to play  because of their limited range.  The rebab is often responsible for  playing the introduction to a piece of music (buka), signaling the other  players to move to different sections of melody within a piece, and in  many instances, deciding which pieces to play.  This is often done by  simply playing the introduction, and the other musicians are expected to  recognize the piece and follow along.  The rebab and gender barung are  closely related, often listening to each other for melodic variations  and ornamentation.  The rebab and gerong (vocal part similar to a choir)  are also interdependent in establishing the lyrical melody of a piece.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Rebab">description</a> of rebab in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The rebab player sits  cross-legged on the floor with the instrument held vertically--its spike  resting on the floor in front of the player.  The instrument is bowed  at the point where the neck joins the body.  The player’s left hand  articulates the notes by pressing gently on the fretless wire, with the  thumb remaining behind the neck.</div>
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    <a href="http://www.blogger.com/null" name="Sampak"></a><br />
<br />  SAMPAK <div>
Definition:   one of the formal structures of a gamelan composition (gendhing).</div>
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          <a href="http://www.blogger.com/null" name="Saron Barung"></a><br />
<br />SARON BARUNG <br />
<a href="http://www.blogger.com/null" name="Saron Demung"></a>SARON DEMUNG<br />
<a href="http://www.blogger.com/null" name="Saron Panerus"></a>SARON PANERUS (PEKING)<div>
Function:  The saron instruments play the basic  or skeletal melody of the music—the balungan.  This basic melody is an  abstraction of the melody played by the elaborating instruments.   Usually the notation for any piece of music will be limited to the part  played by the saron instruments.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Barung">description</a> of saron barung in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The saron instruments are  played by striking the bar in its center with the oval end of the mallet  and dampening the previous bar when the next is played.  The player  sits on the side with the pitches ascending to the right.</div>
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<a href="http://www.blogger.com/null" name="Saron Nyacah"></a> <br />SARON NYACAH<div>
Definition:   The saron wayang is used to play  special patterns that other saron do not play, because of  its larger  range.  These patterns are called saron nyacah and occur mostly in music  for wayang (Javanese puppet and mask theater).</div>
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         <a href="http://www.blogger.com/null" name="Saron Wayang"></a><br />
<br />SARON WAYANG<div>
Function:  The saron wayang is used to play  special patterns that other saron do not play, because of  its larger  range.  These patterns are called saron nyacah and occur mostly in music  for wayang (Javanese puppet and mask theater).</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Wayang">description</a> of saron wayang in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The saron instruments are  played by striking the bar in its center with the oval end of the mallet  and dampening the previous bar when the next is played.  The player  sits on the side with the pitches ascending to the right.</div>
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<a href="http://www.blogger.com/null" name="Sekaten"></a> <br />SEKATEN<div>
Definition:   a pelog gamelan ensemble played in  Indonesia during the Muslim holy week or Sekaten (which celebrates the  birth of the prophet Muhammad), after which the ensemble is named.</div>
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<a href="http://www.blogger.com/null" name="Selamatan"></a> <br />SELAMATAN<div>
Definition:   A Javanaese ritual meal.  According to  Javanese custom, the selamatan (or slametan) may be performed in order  to mark many special occasions, including rites of passage such as  birth, marriage, and death, as well as other transitions, such as  harvest, recovery from illness, name-changing, or embarking on a  journey.  Whatever the occasion, it is meant to produce a propitious  sense of well-being and security.  The ceremony is believed to ensure  that all possible auspicious influences are brought to bear on any  future undertakings.  This process of perfecting intent and potential is  known in the Javanese language as slamet or sometimes salamet.  At a  slametan, food that differs from everyday fare is offered.  These  special foods have symbolic meanings.  The yellow rice mountain, for  instance, symbolizes success, high aspirations or hope.  On its peak are  garlic, red onion, and hot chili, all of which are meant to ward off  evil.  The yellow rice stands for love, and the white, purity.  At the  base, the whole chicken represents unity, while the whole egg means new  life.  The long green beans signify long life, and the mixed vegetables,  diversity.  These foods all rest on a platter of folded banana leaves,  representing strength.</div>
<div>
Three selamatans (slametans) were celebrated for the <i>Kyai Rengga Manis Everist</i> gamelan:  1) <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanManufacture.html#Surakarta">before it left Java</a>; 2)  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanArrival.html#slametan">after its arrival in Vermillion</a>; and 3)  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanNaming.html">at its naming ceremony</a>.</div>
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<a href="http://www.blogger.com/null" name="Seleh"></a> <br />SELEH <div>
Definition:  resolution notes or phrases.  The suling  plays a role similar to the pesinden (female solo vocalist) by  emphasizing strong seleh or resolution phrases.</div>
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         <a href="http://www.blogger.com/null" name="Siter"></a><br />
<br />SITER<div>
Function:  The siter is an elaborating instrument.   Its role is similar to that of the celempung—filling in with ornate  patterns based on the balungan or basic melody and the irama; however,  the octave range of the siter is higher than that of the celempung.  The  siter, celempung, and gambang all play the same number of beats in  relation to each measure of the balungan melody.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Siter">description</a> of siter in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The siter is played like the  celempung—the player sits on the floor facing the smaller end of the  instrument and plucks the strings with the nails of both thumbs.  Long  thumbnails are essential.</div>
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<a href="http://www.blogger.com/null" name="Slametan"></a> <br />SLAMETAN (see <a href="http://kivandanu.blogspot.com/2013/12/javanese-gamelan-glossary-at-national.html#Selamatan">SELAMATAN</a>)<hr style="margin-left: auto; margin-right: auto;" />
<a href="http://www.blogger.com/null" name="Slendro"></a> <br />SLENDRO<div>
Definition:   the Javanese tuning system in which the  octave is divided into five intervals.  A full gamelan set employs both  tuning systems—slendro and pelog—although the two sets are never played  simultaneously.  The <i>Kyai Rengga Manis Everist</i> gamelan is such a full gamelan set.  Listen to a  musical excerpt from the ladrang, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sri%20Wibowo.mp3">Sri Wibowo-Srepeg</a></i>, Laras Slendro Pathet Songo (1904), recorded on the NMM gamelan in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.  </div>
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         <a href="http://www.blogger.com/null" name="Slenthem"></a><br />
<br />SLENTHEM<div>
Function:  The slenthem usually plays the basic  or skeletal melody in Central Javanese traditional music, referred to in  Javanese as the balungan.  Its scale, an octave below the demung, is  the lowest of the basic melody instruments.  Because its large bars are  played with a soft mallet and resonate over hollow tubes, the tone of  the slenthem is smooth and mellow.  Although its sound is less piercing  than that of the other basic melody instruments such as the saron barung  and demung, the slenthem has a central role in supporting the melody.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Slenthem">description</a> of slenthem in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The player sits on the side  with the bars ascending in pitch from left to right.  The bars are  struck with the padded end of the mallet. The free hand dampens the  previous note at the same time that the next note is struck with the  mallet.</div>
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           <a href="http://www.blogger.com/null" name="Slentho"></a><br />
<br />SLENTHO<div>
Function:  The slentho plays the basic or  skeletal melody of the music.  In cases where the slenthem deviates from  the basic melody, the slentho follows the slenthem.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Slentho">description</a> of slentho in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The slentho is played by  striking the bar in its center with the oval end of the mallet and  dampening the previous bar when the next is played.  The player sits on  the side with the pitches ascending from left to right.</div>
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    <a href="http://www.blogger.com/null" name="Srepeg"></a><br />
<br />  SREPEG <div>
Definition:   one of the formal structures of a gamelan composition (gendhing).</div>
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         <a href="http://www.blogger.com/null" name="Suling"></a><br />
<br />SULING<div>
Function:  The suling is an elaborating  instrument.  Its role is similar to the pesinden (female solo vocalist)  in emphasizing strong seleh or resolution phrases.  It also has  considerable freedom, as does the female vocalist, in its interpretation  of these melodic phrases in terms of when it begins to play, what  patterns it plays, its rhythm and ornamentation, and when it chooses to  end its phrase.</div>
Link to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Suling">description</a> of suling in the <i>Kyai Rengga Manis Everist</i> gamelan.       <div>
Playing technique:    The suling is an endblown flute with an external duct and is held vertically in front of the player.</div>
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    <a href="http://www.blogger.com/null" name="Tabuh"></a><br />
<br />  TABUH <div>
Definition:  a <a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html">mallet</a> for striking instruments of the gamelan.</div>
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    <a href="http://www.blogger.com/null" name="Tari"></a><br />
<br />  TARI <div>
Definition:   Javanese classical dance.</div>
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<a href="http://www.blogger.com/null" name="Wayang"></a> <br />  WAYANG <div>
Definition:  lit., 'shadow.'  May refer to the wayang  kulit—the shadow puppet performance—or it may be used generically to  refer to any traditional, dramatic performance accompanied by the  gamelan.</div>
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<a href="http://www.blogger.com/null" name="Wayang Kulit"></a> <br />  WAYANG KULIT <div>
Definition:   Javanese shadow puppet performance, traditionally accompanied by a slendro gamelan.</div>
<img src="http://www.usd.edu/gifs/icons/lines/music.gif" />       <br />Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanManufacture.html">The Manufacture and Ceremonial History of the <i>Kyai Rengga Manis Everist</i> Gamelan</a> <br />Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanArrival.html">The Arrival of the <i>Kyai Rengga Manis Everist</i> Gamelan in Vermillion, July 15, 2000</a> <br />Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanNaming.html">The Naming Ceremony for the <i>Kyai Rengga Manis Everist</i> Gamelan, April 26, 2003</a> <br />Go to  <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html">Checklist of Musical Instruments from <i>Kyai Rengga Manis Everist</i> Gamelan</a> </h4>
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Javanese Gamelan Glossary at the National Music Museum

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14 Dec 2013

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