1999-2000 Preservation of three Pacung Village, Gianyar style gender wayang instrumental pieces. This music was taught to musicians outside of Pacung to encourage Balinese to appreciate other styles.
2002 – Repatriation of a 1977 field recording by Pande Made Sukerta of seven-tone semara pagulingan in Pagan Kelod Village, Denpasar.
2003 – Repatriation of a 1973 film about Wayan Lotring by Jacques Brunet that was donated by Brunet for us to present to relevant banjar communities in Kuta as well as Lotring’s family.
2003 – Repatriation of a 1973 bebarongan recording by Jacques Brunet in Banjar Taman Sanur.
2003 – Repatriation of a 1962 bebarongan recording in Banjar Taman Sanur.
2003 – Repatriation of a 1973 semara pagulingan recording by Jacques Brunet in Ketewel Village of the piece entitled ‘Brahmara’.
2002-2003 – Engaged pelegongan maestro I Wayan Kelo from Br Pande Mas, Kuta to teach rare and unrecorded pelegongan repertoire to our pelegongan group. Our pelegongan group learnt and recorded three pieces which had never been recorded before. One of these pieces, Bopong, we was released (May 2009) on our first audio CD.
2004 – In order to increase the popularity of traditional gamelan in Sanur, founders taught gender wayang to a group of Balinese children on a volunteer basis.
2004-2005 – Conducted preservation project to preserve Singgi, Sanur style of pelegongan music. Engaged senior guru to teach pelegongan group five rare instrumental pieces.
2007 – pelegongan group presented a three-month production entitled ‘Classical Court Performances’ at Mercure Hotel in Sanur. Included explanation of the history of the rare music and dance, and also about the gamelan instruments and the dance costumes.
2008 – Gender wayang group invited to perform at the first world music festival in China, as part of Shanghai Expo 2010. This unique performance opportunity encouraged more of our musicians to learn more rare repertoire from Teges Kanginan Village in Peliatan, Ubud. Preserved and conserved seven rare pieces from this ancient repertoire.
2009 – Semara pagulingan group invited to perform at A Tapestry of Sacred Music festival at the Esplanade in Singapore. The group presented five performances of rare seven-tone semara pagulingan repertoire (from Banjar Pagan Kelod, Denpasar, Kamasan, Klungkung and Gianyar) and pelegongan repertoire (from Teges Kanginan, Ubud and Banjar Tegal, Kuta). Vaughan Hatch presented a talk and demonstration on this rare music and the ensembles during the festival. Released an audio CD of 7 semara pagulingan 2 pelegongan pieces.
2009 (August) – Reconstruction of Kuta style of Legong Jobog with original interlocking patterns. Performed at Kartika Hotel in Kuta for the 2010 International Coastguard Conference, then again at the 2010 Bali Arts Festival.
2009 (September-October) – Reconstruction of 1928 recording of a semar pegulingan piece called ‘Ginanti’, Banjar Titih, Denpasar style. Performed at Maha Bandana Prasadha event in Denpasar on October 8.
2010 (July-December) – Singgi pelegongan project. We have engaged guru I Wayan Mandra to teach our pelegongan group rare pelegongan and bebarongan repertoire as well as the Singgi style of Sandaran.
2010 (July-August) – Part reconstruction of previously extinct semar pegulingan saih pitu piece Sumambang Jawa, Pagan Kelod style. We performed this accompanying dance (Putri & Condong) for the first time in many decades at Oberoi Hotel on August 17.
2010 (September-November) – Part reconstruction of the extinct Pagan Kelod style of Perong Subandar in preparation for a performance at the Asian Games Concert Series in Guangzhou, China in November 2010.
2011 (January) – Commercial documentation of three extinct semara pagulingan pieces: Perong Subandar (Pagan Kelod style), Sumambang Jawa (Pagan Kelod style) and Ginanti (Titih style).
2012 – repatriation of two lost semara pagulingan pieces, Perong Subandar and Sumambang Jawa, from Pagan Kelod, Denpasar.
2012 (January) – Documentation of Yayasan Selonding Bali’s reconstruction of extinct selonding pieces from several different villages in Bangli and Karangasem.
2013 (January-February) – Complete reconstruction of the Pagan Kelod style of Sumambang Jawa and Perong Subandar. We performed these pieces for the first time for wedding ceremonies and temple ceremonies in Denpasar and Sanur, then at the Bali Arts Festival in July 2016.
2013 – Repatriation of a 1959 – 1963 field recording by Bernard Ijzerdraat (student of Jaap Kunst) of seven-tone semara pagulingan in Pagan Kelod Village, Denpasar.
2013 (June) – Documentation and performance of rare semara pagulingan piece from Gerenceng Palace in Denpasar called Sinom Kelanguan.
2013 (April-July) – Reconstruction of extinct semara pagulingan piece, Brahmara, for our Semara Pagulingan performance at the Bali Arts Festival. We learnt this piece from the last person alive who remembers it in the Denpasar style: I Wayan Gunastra from Kaliungu Kelod.
2014 (January-February) – Reconstruction of extinct semara pagulingan piece, Suduk Maru, that is remembered only in part by I Wayan Gunastra from Kaliungu Kelod. We hope to find any possible historic recording on notation of this piece. Please contact us if anyone out there knows of any archival documentation.
2015 – Initial reconstruction of Kuta-style (Lotring) pelegongan piece, Candra Kuta, including the old fashioned interlocking patterns on our five-keyed gangsa.
2015 – Reconstruction of extinct semara pagulingan piece, Lasem Pegambuhan, that is remembered by I Wayan Gunastra (born 1928) from Kaliungu Kelod.
2016 – Repatriation of recording of the gender wayang style of Br Dalem, Pejaten that was recorded by Aneka Record in the late 1970s.
2017 – Full reconstruction of Tabuh Gari, Puri Payangan style from the Fahnestock 1941 recording made in Teges Kanginan, Ubud. We performed this at the 2017 Bali Arts Festival – it had not been heard in Bali for perhaps more than 75 years.
2017 – Reconstruction of original style of kendang patterns for five-tone semara pagulingan piece, Semarandana (Pagan Kelod style). We performed this at the 2017 Bali Arts Festival
2017 – Reconstruction of the old kendang patterns of five-tone semara pagulingan piece, Sinom Lawe (Puri Gerenceng style) based on a recording from 1965. We performed this at the 2017 Bali Arts Festival. It is no longer performed by the group at Puri Gerenceng.
2017 (March) – Restoration of pelegongan orchestra from Br Badung in Lukluk Village, the set famously documented by Colin McPhee and Jane Belo in ‘Music in Bali’. Music archaeologist and gamelan researcher Vaughan Hatch and team re-tuned this 1912 set so that it retained its original court gamelan feel, as well as serviced all the casings, resonators and replaced the plastic cord with traditional cowhide cord.
2017 (December) – Tuning of pelegongan orchestra from Br Tegal in Kuta Village. Vaughan and team re-tuned the orchestra, which is now mostly made up of gong kebyar instruments, to the 1968 tuning that was recorded by Jacques Brunet and Ocora Records in 1973. This was in preparation for a historic recording in 2018 of 26 pieces of music passed on to the Semara Budaya troupe of Br Tegal by Guru Lotring and village elders.
2018 – The initial phase of reconstruction of lost instruments in one of our antique angklung ensembles. This included angklung rattles, a cungklik and four different sizes of cymbals. The reconstruction was based on photos and notes taken by Colin McPhee during the period 1932 – 1938.
2018 (November – December): Reconstruction at Mekar Bhuana Centre of the 1950s / 1960s Pagan Kelod semara pagulingan drum patterns based on a recording by Bernard Ijzerdraat made in 1957 – 1963. Passed on to a young musician from Pagan Kelod to carry on the tradition in his village.
2018 (December): Reconstruction of the Tampak Gangsul semara pagulingan gangsa style in pieces that were taught to Pagan Kelod hamlet in 1942. Our reconstruction was based on the field research by Colin Mcphee (1932 – 1938) and Jaap Kunst (1924) in Tampak Gangsul hamlet.
2019 – The second phase of reconstruction of lost instruments in one of our antique angklung ensembles. This included a grantang and a terompong beruk. The reconstruction was based on photos and notes taken by Colin McPhee during the period 1932 – 1938.
2019 (May) – Repatriation of two lost five-tone semara pagulingan pieces from Pura Payogan Agung in Ketewel Village. With help from ethnomusicologist, Dr Danker Schaareman, we presented a 1962 recording of four semara pagulingan pieces, including two extinct ones, by Swiss painter and recordings, Theo Meier.
2019 (June 8) – Repatriation of three lost angklung pieces and 11 extinct instruments from Banjar Kebon, Culik Village in Karangasem. This project was three years in the making and was based on Colin McPhee’s photographic and video evidence as well as notation from ‘Music in Bali’.
2019 (July 12 & 13): Documentation and formal study of the ‘Cak’ art-form from Kaliungu Kelod in Denpasar, remember solely by elderly musician I Wayan Gunastra (90 years old). This interlocking patterns, which differ from the art-form for tourist performances known as ‘Kecak’, have now been passed on to three young Balinese musicians who will teach the parts to a group of around 15 with the aim of reviving the performance and then perhaps one day repatriating in the village hamlet of origin.
2019 (November): Premiere screenings of ‘Nyejerang Swara’ a film about selonding from Selat Village produced by Mekar Bhuana in October 2019. The first private screening took place at Puseh Temple in Selat Village and the public screening was held at Rumah Sanur in Sanur.
2019 (November 5): Repatriation of three selonding pieces from Selat Village recorded in 1962 by Theo Meier. This recording was kindly donated by Danker Schaareman to Mekar Bhuana and then formally presented to Selat Village by Vaughan Hatch.
To support to our ongoing documentation and reconstruction projects, either send donation to our PayPal account (email@example.com) or to our bank account in Bali:
Bank: Bank Mandiri (PERSERO) Tbk.
Branch: Jl By Pass I Gusti Ngurah Rai No. 104, Sanur
Account Number: 1450004652711
Account Name: Putu Evie Suyadnyani
Thank you for your generous support – you are helping to document rare Balinese gamelan music!