Toyo ongaku kenkyu : the journal of the Society for the Research of Asiatic Music
Online ISSN : 1884-0272
Print ISSN : 0039-3851
ISSN-L : 0039-3851
The function of sacred gamelan selonding in Tenganan, Bali
Hiroko YAMAMOTO
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JOURNAL FREE ACCESS

1995 Volume 1995 Issue 60 Pages 68-78,L5

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Abstract

Tenganan lies in the east of Bali, and there live a group of people called Bali Aga who still have the tradition of ancient customs which go back to the time before the Javanese brought Hindu culture to the island. This paper reports, first, the present situation of the tradition of gamelan selonding, iron musical instruments; second, the author compares selonding and bronze gamelan gong and finds connection between the fact that they are Bali Aga and the fact that they are the very people that have handed down the tradition of selonding.
The inhabitants are divided into two groups: one is Bali Aga who are called Pegringsingan, and the others are mostly blacksmiths called Pande. Only Pegringsingan are able to touch and play selonding in their own ceremony. There is a legend that selonding is sacred because it is an instrument sent from heaven, and it is divine as it is made of iron which has magic power. If a person who is not Pegringsingan touches selonding, it means desecration. When it happens, it is necessary to perform a ritual of purification, whereas when a Pegringsingan touches it they do not need to have the ritual. It means, probably, Pegringsingan deem themselves sacred. It serves for Pegringsingan to distinguish themselves from those other than themselves.
Gong itself is not sacred. Both groups, Pegrhinsingan and Pande, participate in the village ceremony and they are allowed to touch and play gong.
Sacredness which can be seen in selonding has some connection with Pegrinsingan.
Pegringsingan are a unique community united with their common paddy field. They earn their income by managing their common paddy field. Their affluent life is sepported with the common paddy field. Pande earn their living by peddling, manufacturing, and wage earning; they do not have their common paddy field.
The money for the expenditure on selonding is drawn from the profit out of the common paddy field. Pegringsingan possess special common paddy field for selonding. The expenses for gong are taken from the foundation whose money has been gained by the seasonal hired labor at the time of harvest.
It became evident that Pegringsingan and selonding have some connections with the common paddy field, but gong and Pande have not connection with the common paddy field.
In conclusion, to play selonding is the proof of being Pegringsingan, and they have special privilege to be the member of the common paddy field. Therefore, to play selonding is the revelation of their sacred identity as Pegringsingan.

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© The Society for Research in Asiatic Music (Toyo Ongaku Gakkai, TOG)
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