"Ratna Ayu"
This gamelan performance is set up in such a way that facilitates an audience being able to watch. The female dancers take center stage, while the instruments and their players are seated on the sides, surrounding the dancers. In general, the dancers perform facing the audience. From the angle of the camera, the viewer can see that there are a number of different instruments in this gamelan ensemble: kendhang, bonang, gender, gong, siyem, slenthem, rebab, kempyang,The performance is set indoors under low light, evoking a somber mood. This mood is perpetuated by the slow movements of the dancers and the low pitch and steady, slow rhythm of the instruments. From the angle of the video, one can see that the audience is sitting quietly and paying close attention to the music and dancing. Eventually, the music and the dancing become more lively, but only moderately so. The dancers' delicate movements mimic the changes in pitch in the melody. The dance appears to be a sort of court dance, known as a bedhaya. I came to this conclusion because of a scene near the end of the video, during which one dancer was elevated above the others using umbrellas, conjuring images of a ruler being lifted up.
"Gamelan Bali Nyepi"
This performance took place outdoors in a far more casual, relaxed environment. There seemed to be far more many instrumentalists, all of whom dressed alike in white clothing and headbands. For the most part, the players faced each other in a large square with multiple layers within, sitting in compact rows. The entire ensemble appeared to follow the lead of one man standing at the head. The individual instruments were not as clear from the point of view of the camera. The rhythm and melody of this piece was different; the beat was clearly faster. I could see many kempyang being played, and large gongs were also present. From the audio, I could also hear that there may have been a gender instrument present as well, in addition to some sort of idiophone, perhaps a kendhang. In this performance, it was not clear who the audience was, and where they were seated. In contrast to the previous performance, there were no dancers, only instrumentalists in this performance.
This gamelan performance is set up in such a way that facilitates an audience being able to watch. The female dancers take center stage, while the instruments and their players are seated on the sides, surrounding the dancers. In general, the dancers perform facing the audience. From the angle of the camera, the viewer can see that there are a number of different instruments in this gamelan ensemble: kendhang, bonang, gender, gong, siyem, slenthem, rebab, kempyang,The performance is set indoors under low light, evoking a somber mood. This mood is perpetuated by the slow movements of the dancers and the low pitch and steady, slow rhythm of the instruments. From the angle of the video, one can see that the audience is sitting quietly and paying close attention to the music and dancing. Eventually, the music and the dancing become more lively, but only moderately so. The dancers' delicate movements mimic the changes in pitch in the melody. The dance appears to be a sort of court dance, known as a bedhaya. I came to this conclusion because of a scene near the end of the video, during which one dancer was elevated above the others using umbrellas, conjuring images of a ruler being lifted up.
"Gamelan Bali Nyepi"
This performance took place outdoors in a far more casual, relaxed environment. There seemed to be far more many instrumentalists, all of whom dressed alike in white clothing and headbands. For the most part, the players faced each other in a large square with multiple layers within, sitting in compact rows. The entire ensemble appeared to follow the lead of one man standing at the head. The individual instruments were not as clear from the point of view of the camera. The rhythm and melody of this piece was different; the beat was clearly faster. I could see many kempyang being played, and large gongs were also present. From the audio, I could also hear that there may have been a gender instrument present as well, in addition to some sort of idiophone, perhaps a kendhang. In this performance, it was not clear who the audience was, and where they were seated. In contrast to the previous performance, there were no dancers, only instrumentalists in this performance.
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