By Phillip Zonkel
Staff Writer

In a Balinese village, 200 men squat in circles.

Suddenly, their sharp cries of "tjak" signal the commencement of the ketjak, a re-enactment of the battle described in the Ramayana epic, in which hoards of monkeys aid Kin Rama in his battle with the evil King Ravana.

This explosive confrontation is 22 minutes of frenzied chest-beating, grunting, ground-thumping and general mayhem, complete with a chorus imitating monkeys as they chant the syllable "tjak."

It's on of the many examples of audio dynamite on the new Nonesuch Explorer Series, a 12-volume survey of music from Indonesia and the South Pacific.  Originally available on vinyl from 1967 to 1987, the recordings have been re-released on CD and are in stores now.

The Indonesia-South Pacific collection is part of a sonic treasure trove.

From 1967 to 1984, Nonesuch Records released 92 albums around the world that were recorded in several regions around the world by a team of field producers and ethnomusicologists.  The label has compiled them into an eight-part feast being reissued over the next three years: a 13-disc African collection came out in February; nine discs focusing on Tibet/Kashmir are due in June, 11 discs explore Latin America/Caribbean in October, 13 discs highlight East Asia in February 2004; seven discs celebrate Central Asia in June 2004, 14 discs examine Europe for October 2004; and 15 discs illuminate Indian by February 2005.

The Indonesia-South Pacific selections feature a jaw-harp song that mimics frog calls, music from a famous Indonesian shadow play, Tahitian love songs and war chants and a popular vocal style from West Java.

A majority of these titles, nine out of 12, spotlight gamelan music used for a variety of occasions from Bali and Java.  Gamelan refers to a set of instruments, mainly matallophones (xylophone like keyed instruments) and bronze gongs of various shapes and sizes, as well as the style of music played on them.

In the past, gamelan sets were sometimes sacred heirlooms handed down by through generations and might symbolize a monarch's power.

But, "there's a definite psychological difference between the tow cultures that comes out in the music very clearly," says Robert Brown, 76, who produced two of the Bali CDs and three of the Java CDs and is president of the nonprofit Center for World Music.

"Balinese music is often very fast and very exciting.  Javanese music is very inward and perfumed."

In any event, Brown was determined to showcase the island's cornucopia of artistic wealth.

It sounds like he succeeded.  Says University of California at Santa Cruz music professor Fredric Lieberman: "He's grabbing the best of the best and a good sampling of the types of music performed on the gamelan."

Here are a few of the gamelan titles and the behind-the-music-stories.

•"Bali: Golden Rain" (1969)

"After the Dutch landed in the early 20th century, the feudal rule of Bali came to an end.  The overthrow of traditional values also reflected in the island's arts," says David Lewiston, 73, who produced three Bali discs.  "Gamelan gong kecjar arose in 1915.  Kebjar means "to burst into flame," and it differs from the stately music of the gamelan gong, which is soon supplanted, by featuring by featuring bravura passages in free rhythm," he says.  "All the musicians play in such perfect ensemble that the gamelan sounds like one huge instrument.  It differs from gamelan gong in its explosive syncopation (the entire gamelan in rhythmic unison), interspersed with traditional ostinato episodes."

•"Java: Court Gamelan" (1971)

The epitome of the Java gamelan playing style is found in four royal courts, two each in the neighboring cities of Yogyakarta and Surakarta (or Solo).

"This recording typifies the style of the Paku Alaman court in Yogyakarta," Brown says.

The two cities are 37 miles apart, but because of political separation in the mid-18th century, developed rival styles of music and art.  Intermarriage between royal families les to some blending of musical styles by the time this recording was made.

Not only was this record Grammy nominated, it's heard throughout the galaxy.  In 1977, NASA launched Voyager with a gold-plated copper record featuring sounds and images of life and culture on Earth.  Working with Carl Sagan, Brown chose "Ketawang: Puspawarna" to represent Southeast Asia for its gong-chime orchestras.

The composition is performed for the entrance of the Prince Paku Alam into the reception hall.  The text refers to two of the nine "kinds of flowers" that symbolize the nine aesthetic states of Hindu-Javanese philosophy.

•"Java: Court Gamelan, Volume II" (1977)

Each of four courts on Java developed a unique style of gamelan due to political separation and the Dutch's approach of divide and conquer.

"The music of the great bronze orchestras of the four royal courts define the tradition and exemplify the highest artistic standards for thousands of similar gamelans in the towns and villages of central Java," Brown says.

This gamelan music was recorded in the Mangkunegaran Court in Surakarta.  The instruments and musical heritage the represent reflect the unique position of the over 200 years.

The gamelan recorded here has a unique history in that it is alleged to be responsible for the failure of a coup.  Two princes led a 16-year struggle against the Mangkunegaran king.  Their fierce fight failed when the two leading princes fought over who would own the Mangkunegaran gamelan on their recording.

•Java: Court Gamelan, Volume III" (1979)

This is gamelan music recorded in the court of this Kraton Yogyakarta.

"This is one of the most traditional form of the Yogyanese style, which is older than Surakartan gamelan and has a predilection for louder instrument, freer rhythms and melody, and more elaborate saron parts," Brown says. 

"The divisive policy of Dutch colonialism has the unforeseen effect of fostering the performing arts in the protected atmosphere of the courts," he says.  "The New Yoganese Court strove to produce styles of music, dance and shadow play that were distinctive from the Sukukarta styles, while not diverging radically from the shared tradition."


Phillip Zonkel can be reached at (562) 499-1258 or by email at phillip.zonkel@presstelegram.com.