Balinese Gamelan
Gamelan is the idiom in which I grew up. The communities I occupy through the striking of bronze keys provide the full range of artistic affect for me. It is an idiom in which I love and find the most frustration in. My compositions and performances pay homage to maintaining the dynamism in experimental tradition. I compose for the musical margins.
Tari Kreasi Laku
“Laku” symbolizes the relationship of geographic availability as it relates to social popularity of place between Colorado and Bali. It integrates ideas of idiomatic musicality and sound studies as the piece capitalizes on the aesthetics of boisterousness and what Indonesian communities call, ramé. The aura of availability is challenged when Glocal character is compromised.
Lu’u
“Lu’u” is a composition commissioned for Gamelan X. Its instrumentation is a mixture of experimental Baleganjur and heavy metal sensibilities. The piece critiques the global trash problem that has created environmental problems not only for Balinese people but for the world economy.
Kreasi Baleganjur Benen Mua
“Benen Mua” is a transposition of math metal tune, “Fix Your Face,” for gamelan baleganjur. Denver, Colorado’s premier Balinese Arts ensemble spent a weekend boot camp learning and performing the piece. It confronts cultural contradiction, appropriation, and I use it as a critique of local agency and regional “Taksu.”
Metakon
“Metakon” is a chamber piece commissioned by the newly formed Women’s Gamelan of Illinois. This piece simply “asks.”
Lebian Pikiran
“Lebian Pikiran” means too many or excessive thoughts. As diasporic ambassadors of culture occupy the vast geography around the world, at times we find ourselves in option paralysis.
Garang Buyung
“Garang Buyung” is a chamber piece for one instrument performed by the Women’s Gamelan of Illinois. This piece translates to, “swarmed by flies,” and finds the sublime in interactions of urban development and agricultural rubbish.