Although each dalang may develop his own distinctive
rattle music with different degrees of proficiency and with a wide variation of
sophistication, the function of the sound is the same. A dalang invariably
employs the sound like a sensor to cue musicians to initiate and stop a motif.
Similarly to a musical conductor with a Western orchestra, a dalang uses the
sound to keep the beat and to adjust and control the tempo of the music. Most
of the time a dalang employs the cepala rattle as a musical device to emphasise
the cadence of puppet movements. The effect is similar to the percussive
punctuations found in Chinese performance traditions, such as Beijing opera.
- According to the rhythmical pattern and function of each type, the tabuh cepala is distinguished as follows:One stroke, tabuh pisan, has three divisions: a single tak, a single blak and a series of tak . . . tak . . . tak . . . tak. . . .
- A single tak (only the cepala hits the box) begins a dialogue, speech or speaking.
- A single blak (both foot and cepala simultaneously hitting the box) ends a sequence of action.
- A series of tak begins a sequence of action.
- A syncopated pattern of two, tabuh dua, accompanies the dancing of a puppet, or stabbing scene with the kris (sword) and the walk of a lame or crippled Wayang puppet character.
- A syncopated pattern of three, tabuh telu, ends a speech.
- A syncopated pattern of four, tabuh pat, accompanies fighting.
- A syncopated pattern of five, tabuh lima, also known as ngebrag, accompanies Delem, the clown of the antagonist, as he dances, Bapang Delem, and for fighting with Gada (maces).
- A syncopated pattern of seven, tabuh pitu, which is the (composite) pattern of three and four, follows the rest of the actions.
The first stroke is not counted, for it serves to warn
the musician about the upcoming cue. In every case, the tabuh of the cepala
rattle supports the action or movement of the puppets. It translates the
dalang’s conception of character and the demands of the story’s action into
tangible sound.
The second device that a dalang uses to cue his
musicians is tetikasan, a term which refers to all puppet movements and
manipulation. Musicians know that a certain character should have specific
music for a certainoccasion, such as when entering or running and whenever a
character is angry or sad or in love. Some pieces are even named according to
the action of a puppet, for which the piece must be played. For example, the
piece of Bapang Delem must accompany the entrance of the comic servant Delem. The
piece Gending Garuda must accompany the dance of Garuda the eagle. A good
Balinese musician demonstrates personal skill but must also be very attentive
to the dalang’s cueing. Musicians do not have to be concerned all the time with
the various puppet movements, but it is crucial that they be attentive to the
transitional moments or actions. Most errors occur when musicians miss or time
transitions badly, thereby frustrating the dalang. In some ways, the dalang is
as concerned about the rhythm and impact of transitions in the narrative as a
Western theatre director is about rhythm of scene endings and changes. In both
cases, the energy and impact of the performance is damaged and the
concentration/involvement of the audience is weakened when the performance
fails technically in this respect. The Western theatre director spends much of
the technical period of a production fine-tuning the required speed and rhythm
of these changes, and the dalang works with and guides the musicians to the
same end. Formalised movement and cadence, known as ngeseh angsel, a principal
for all characters, is the most crucial among the movement patterns. Ngeseh is
a jerky, physical cadence of the Wayang puppet, which is a cue that must be
promptly responded to by the musicians in order to develop an angsel, an abrupt
rhythmic pattern of syncopated accents followed by the orchestra, culminating
in a sudden pause which suspends the music.
During a battle scene, the movement of a puppet
shooting arrows, jabbing his fists, poking weapons and making numerous fighting
gestures is comparable to the commanding movement of a baton in the hand of a
Western music conductor. A good dalang is very aware of how these dramatic and
extravagant sequences will excite an audience.
The third way a dalang cues his musicians is by loudly
reciting dramatic terms. Some of those cuing devices are listed and translated
below (Zurbuchen, 1987: 163):
bawisiati
next, then, following upon
ari wawu
just then, next, just as
agelis
immediately, quickly
ari tedun
upon the descent of
ari
wijil
upon the appearance/coming forth of
caritanen
let it be told
warnanen
let it be described
byatita
formerly, in the part
saksana
in the wink of
an eye
kancit
straightaway
This dramatic narrative is easier for musicians to
respond to than the puppet movements and the pattern of the rattle. For
example, when a dalang wishes to tell his musicians to begin the mesem (sad
scene for Arjuna), all he needs to do is recite, ‘Therefore Prince Arjuna
cries’, and the musicians respond accordingly.
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