Gamelan Naga Mas / Joko Susilo / I Nyoman Wenten 2002-2003
by Jon Keliehor, Seleh Notes, March 2003.

During 2001-2002, Gamelan Naga Mas (Glasgow) experienced a period of reformation and revitalisation under the direction of dhalang / master musician Joko Susilo.

Mas Joko (an eighth-generation puppet master from Java) came to Glasgow in the autumn of 2001, to teach at the Scottish Mask and Puppet Centre and create a new shadow puppet play as Leverhulme Trust Artist in Residence at the University of Glasgow. Soon plans were laid out to develop a full set of Wayang performances with Gamelan Naga Mas. New members were needed. American composer Jon Keliehor and Scottish percussionist Signy Jakobsdottir, both from Gamelan Pacifica (Seattle), joined the group along with American Matthew Isaac Cohen and Indonesian dancer Aviva Kartiningsih Cohen. Old and new members who were attracted to the project were assembled. During the months that followed Joko guided the musicians of Gamelan Naga Mas in developing the complex musical skills needed for his music.

With the addition of new music, and new ways of understanding and performing traditional Javanese music, the group emerged with enhanced abilities and a strong group identity. All of this led to a series of traditional Javanese wayang presentations of the Ramayana. With these performances the groundwork was prepared for more experimental work. New scripts and designs by Joko Susilo and Matthew Isaac Cohen (Lecturer, Glasgow University Department of Theatre, Film & Television Studies) were developed. New performances emerged. Ancient Celtic mythology was presented in wayang style as Wayang Cuchulain, at the Glasgow West End Festival 2002; Maori mythology was explored at Glasgow's Inspiration Festival as Wayang Karetao; new music was written by Jon Keliehor, J. Simon van der Walt and Joko Susilo.

In August, at the end of his Glasgow residency, Joko returned to his home in New Zealand. He had barely departed Glasgow when unexpected new performance plans swung into motion again, this time for preparation to mount music/dance/puppet performances for the Dussera Festival (Ramlila-Diwali) in Scotland. Performances were scheduled for 27-28 October, and time was short. Jon Keliehor took over the production responsibilities, assembling creative personnel and negotiating the production schedule. Joko returned with dancers Pudji Astuti Jansen and Aviva Kartiningsih Cohen and rehearsals commenced in full swing. In that short period Naga Mas produced results, which exceeded expectations. Hanuman as Envoy emerged.

The performances were a three-part affair. In addition to the Javanese multi-media presentation, there were Thai and Indian dance companies, each offering selected episodes from the Ramayana. The Gamelan Naga Mas performance, Sendratari Wayang, concluded the show. With pre-recorded music for the first two groups, no one expected a large, live gamelan orchestra to spring into motion. The music was compelling and velocity oriented. It was dazzling. There were puppets and dancers, and a very cheeky three-actor interpretation of the Rama/Sita mythology. In Scotland, performances at a typical Diwali festival are usually very colourful but conservative. But in this show, even the promoters were blown away, lost for words and raving at the post-show ceremony.

Following all this, once again Joko Susilo returned to Java, and then back to his home in New Zealand. The members of Naga Mas took a very brief rest. Well, maybe not. We were told that Balinese musician-dancer I Nyoman Wenten (Chair World Music/Dance, California Institute of the Arts, Los Angeles) was arriving in early February to begin a week-long Topeng mask workshop for the Scottish Mask and Puppet centre in Glasgow. He had heard about Gamelan Naga Mas and requested live music if possible. Immediately we began preparation, corresponding with Pak Nyoman and attempting to decode Balinese Topeng music from a tape he sent.

Without proper Balinese instruments to play on, we translated what we heard onto Javanese pelog instruments. In fact most members of Naga Mas had never played Balinese music. We began to rehearse from fragments of notation and remembered kotekan-patterns, until a proper musical feeling developed. There was a great deal of guesswork involved, but slowly we unraveled a few recordings on the tape. In February, Nyoman Wenten arrived for a week of intensive daytime workshops for selected applicants, and nightly rehearsals with the gamelan. He directed the group in both Javanese and Balinese music for Topeng. At each rehearsal he demonstrated the movements of the dance, transforming himself into the various Topeng characters. As a mature performer he clearly embodied his art form. His gift was unbelievably inspiring. The single performance at Cottier Theatre, Glasgow, on 9th February was wildly successful. Topeng of Java included Bendrong, Gangsaran, Pucung Rubuh, and Bendrong Jantir. Topeng of Bali included Topeng Keras, Topeng Tua, Bandresan, and Kilat Penuwun. Additional music from Naga Mas included Ketwang Suksma Ilang, Godril, Rujak Jeruk, Pakumpulan, Moncer, Caping Gunung, and Gambang Suling.

Gamelan Naga Mas has re-emerged as a vital UK ensemble. Its growth is exciting. The group performs on a set of Javanese instruments made in Yogyakarta by Pak Suhirjan, brought to Glasgow ten years ago during the Year of Culture. Naga Mas uses the large set of Pelog instruments now housed at the newly redesigned Tramway Arts Centre, but the Slendro instruments are kept in another location where the group has little access. So the full set remains divided. The musicians include Signy Jakobsdottir, Jon Keliehor, Sophie Pragnell, Mary Anne Carroll, Margaret Smith, J. Simon van der Walt, Martin Sewell, Matthew Issac Cohen, Aviva Kartiningsih Cohen, Dania Soedibyo, Raymond Carstairs, Katherine Waumsley, Helen Rowley, Hooi Ling Eng, Nick Fells, Simon Shakeshaft, Fiona Cook and Maymunah Mohd.

The group leadership is redefined with each project. With exceptional and strong kendhang development from Signy Jakobsdottir, a more assertive musical direction is now unfolding. There are additional plans to develop a new works season, and to continue development with wayang, dance and theatre. New directions for the coming year are concerned with establishing stronger links for educational provision through Glasgow City Council. Composer Jon Keliehor will encourage a platform where new music compositions can be linked to both international and resident dance and theatre artists. Matthew Issac Cohen's continuing innovations with poetry and text will create a seedbed for future productions. In development are world religion, inter-denominational wayang kulit plays, and a new production of the five plays comprising the Cuchulain cycle of W.B. Yeats -- using Gamelan, shadow puppets and masks.

Jon Keliehor
30 December 2002