The album title translates to “Gamelan Fifth Dimension”.
Gamelan was introduced to New Zealand in the 1970s. It has an active scene in Wellington (my birthplace, where I first encountered it in 2010 – thanks to www.gamelan.org.nz ).
From 2012-2014 I lived in Perth, Western Australia, and played in the ensemble Gamelan Sekar Puri. From there I was able to visit Indonesia (and Malaysia) relatively affordably.
On returning home to New Zealand at the end of 2014, I spent the next few years as a member of theWellington gamelanensembles: Gamelan Taniwha Jaya (Balinese) and Gamelan Padhang Moncar (Javanese). In 2017 I moved to the Wairarapa, so travelling for regular rehearsals became impractical.
The field recordings were made in 2014 in Indonesia -in central Java, then Baliand Nusa Penida islands;
As well as very different scenery, cultures, cuisines and religion – the islands have strikingly different subgenres of gamelan. Stereotypically, the Javanese style is more hypnotic and meditative, while the Balinese style is faster and complex.
Yogyakarta and Surakarta, Central Java
Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia, 2014
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Javanese shadow puppets, Indonesia, 2014
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese gamelan, Indonesia
Javanese gamelan, Indonesia
Javanese gamelan, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Javanese shadow puppets, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Bali and Nusa Penida
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Central Java, Indonesia
Nusa Penida, Indonesia
An endangered Bali Starling, Nusa Penisa, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Nusa Penida, Indonesia
Credits
Dave Edwards – saron, jublag, jegogan, field recordings, bass, electric guitar, tenor saxophone
The field recordings are mixed alongside gamelan ensembles, recorded between 2010-2018;:
This fund-raising event was sparked by a tragedy in Cirebon, Indonesia, in April this year when a wall adjacent to the rehearsal space collapsed on top of the players, killing seven youngsters, aged between 12 –15 years, and their teacher, dhalang Mas Herman Basari.
You are invited to attend what promises to be a spirited occasion, and to contribute generously to the funds. The programme for this concert will include:
A wayang kulit (shadow puppet show), The Fall of Gathutkaca, performed by dhalang Ki Joko Susilo, accompanied by Gamelan Padhang Moncarof the New Zealand School of Music, Victoria University of Wellington.
“The 20 song album covers traditional Javanese and Balinese gamelan, Asian folk music, to free jazz, and free noise. It’s not for anyone with narrow preconceived ideas about what music is, but it is for everyone else.
“If you have an open inquiring mind and love hearing a variety of sound, this is excellent.” – Darryl Baser, muzic.net.nz
by Dave Black (acoustic & electric guitars, banjo, harmonica, laptop, bass, tenor saxophone, field recordings, piano, ukulele, sanshin, saron, jublag, demung, vocal), with
ShadowPlay – an exhibition of wayang kulit shadow puppets from Cirebon (West Java) at Pataka Museum in Porirua. The antique collection of puppets was purchased by the late Allan Thomas (who also commissioned me to contribute to the book Jazz Aotearoa) in 1974 together with a set of gamelan instruments. Jennifer Shennan and Joko Susilo have worked to curate a unique exhibition showcasing these treasures.
Associated events:
Saturday 6 February, 11:30am, Performing Arts Studio, Pataka Art + Museum
Wayang kulit performance by Joko Susilo accompanied by The First Smile gamelan.
The group performs traditional repertoire from the courts and villages of central Java as well as contemporary works by New Zealand composers such as Jack Body and Gareth Farr. They also frequently accompany wayang kulit (traditional shadow puppetry) with Joko Susilo.
Here’s video from my two visits to Indonesia in 2014 – a fascinating new country that I’m only just beginning to explore, and can continue to do so through gamelan (like Indonesia itself it gets more complex & interesting the more you look).
Partly because I’ve visited several countries in East Asia now, and lived in two (Japan and South Korea), Indonesia seems like something else entirely. It’s less Chinese-influenced and has a style of its own.
[Diary from September] This trip was just enough for an introductory sampler. I decided to focus on the arts this time rather than the mountains, ocean and jungle which would require more time, money and preparation.