{"id":50,"date":"2016-10-17T15:43:49","date_gmt":"2016-10-17T15:43:49","guid":{"rendered":"http:\/\/vetter.sites.grinnell.edu\/gamelan\/?page_id=50"},"modified":"2018-02-19T21:26:37","modified_gmt":"2018-02-19T21:26:37","slug":"k-k-marikangen","status":"publish","type":"page","link":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/kraton-yogyakarta-gamelans\/k-k-marikangen\/","title":{"rendered":"K.K. Marikangen"},"content":{"rendered":"

Acquired:<\/strong> during the Reign of Sultan Hamengku Buwana II or III
\nType of Gamelan:<\/strong> common practice–modernized
\nTuning:<\/strong> sl\u00e9ndro<\/em><\/p>\n

\"marikangen\"<\/a>
The gend\u00e8r barung <\/i>of the gamelan K.K. Marikangen.<\/i><\/figcaption><\/figure>\n

Sources differ in regard to when K.K. Marikangen (“end of yearning”) was built. Kertanegara[1]<\/abbr> dates\u00a0the making of this common practice\u00a0gamelan sl\u00e9ndro<\/em> to the reign of the Second Sultan (1792-1810), Purwodiningrat[2]<\/abbr> to that of the Third Sultan (1810-1814). It seems safe to say this set came into existence around the turn of, or early in, the 19th century. This gamelan, along with the common practice\u00a0gamelan p\u00e9log <\/em>K.K. Bremara[3]<\/abbr> were associated with the prajurit<\/i> (soldiers) Langenkusuma, an all-female division of the palace troops. Kertanegara[4]<\/abbr> says that these gamelans were actually performed by members of Langenkusuma for their own entertainment inside the palace. In comparison to almost all other palace gamelans, K.K. Marikangen is\u00a0diminutively proportioned, making it appropriate for use by female musicians. Purwodiningrat[5]<\/abbr>, however, reports that K.K.<\/em> Marikangen was used to accompany the jousting exercises of\u00a0the Langenkusuma troops in the more public Alun-alun (square). Which of these sources is more historically accurate is difficult to say, but the association between these gamelans and female prajurit<\/em> during the first half of the 19th century seems certain and supported in part by the unusually small size of several of the instruments in these gamelans.\u00a0By the reign of the Sixth\u00a0Sultan the prajurit<\/i> Langenkusuma apparently no longer existed and the use of K.K. Marikangen in the artistic life of the palace was\u00a0redefined. It was now used to accompany highly refined and symbolically rich female ensemble dances called bedhaya<\/i> and elaborate dance dramas called ringgit tiyang<\/i> or wayang wong.<\/i> Also at this time it became the ensemble of choice to be used for the yearly shadow puppet play (wayang kulit<\/i>) performance known as bedhol songsong,<\/i> which marked the end of Grebeg Sawal, the palace celebration that takes place at the end of the Muslim month of fasting (Ramadan). In 1925 the Eighth Sultan loaned this set to the palace-sponsored puppeteer school Habirandha, where it remained until the late 1990s when the set was returned to the palace. At some time in the 20th century the original pre-modern instrumentation of this set was partially modernized with the addition of a few key instruments. Total modernization of its instrumentation and repair and repainting of its casings were underway in 1999, when I first saw this gamelan at the residence of G.B.P.H. Yudhaningrat, and completed by\u00a02007. In 2016 the set was once again being used for\u00a0pedagogical ends–it is now at the Sekolah Karawitan Kridhamardawa (“Gamelan Music School of Kridhamardawa” [the performing arts division of the palace]), which is located at n<\/em>Dalem<\/em> Yudhanegaran, the current residence of G.B.P.H. Yudhaningrat, a younger brother of the current sultan and the head of Kridhamardawa.<\/p>\n

On the three occasions I have seen this gamelan (1999, 2007, and 2016) it did not have a\u00a0bonang panembung<\/em> or gambang gangsa,<\/em> yet some inventories list these instruments for this set. I have seen its slentho<\/em>, but without its wilahan<\/em> (keys). K.K. Marikangen now includes a gend\u00e8r panembung<\/em> and a\u00a0gend\u00e8r penerus<\/em>, as well as a full array of kenong jaler<\/em> and kempul<\/em> gongs–all typical additions made when a pre-modern set is modernized. Only a single, unnamed, gong ageng<\/em> is currently with the gamelan, and a single gong\u00a0siyem<\/em> is suspended next to it. I have encountered another gong siyem<\/em> that must have at one time been a part of this set but is currently part of another gamelan\u00a0sl\u00e9ndro, <\/em>K.K. Pusparana. On the back of this gong<\/a> is written in Javanese script “gong bibar watang \\ kangjeng kyahi marikangngen<\/em>” (“gong after jousting \\\u00a0K.K. Marikangen”). This inscription appears to make reference back to the earliest association between K.K. Marikangen\u00a0and the female prajurit<\/em>\u00a0brigade Langenkusuma. Why this gong siyem<\/em> is currently with K.K. Pusparana rather than K.K. Marikangen I cannot say, but over the years I have noticed that there are a number of palace gong ageng<\/em> in particular that have migrated from one gamelan\u00a0to another.<\/p>\n

K.K. Marikangen is painted a dark green (ijem sepuh<\/em>) with detailed highlight in gold, green, brown and purple. A flame motif is used for the borders of the instruments, and some of the instruments have their open spaces filled with carvings of vegetation (lunglungan<\/em>). The main figural motif<\/a> for this gamelan<\/i> is facing garuda <\/em>heads.<\/i>\u00a0Between and below the two garuda<\/em> is possibly a solar wheel (chakra<\/em>, an attribute of the Hindhu god Vishnu)\u00a0highlighted in gold. As can be seen in the photo at the top of this page, the gend\u00e8r<\/i>-type instruments in this set have mataraman<\/em> style casings. Another feature of this gamelan<\/i> is the diminutive size of the gongs on its double-row gongchime instruments (bonang<\/i>), a design feature which perhaps reminds us of the original intended use of this set for performance by women.<\/p>\n

Inventory:
\n<\/strong>gong ageng<\/em> (1)
\ngong siyem\/suwukan<\/em> (1)
\nkempul<\/em><\/a> (5)
\nkenong jaler<\/em><\/a> (5)
\nkenong japan<\/em><\/a> (1)
\nkethuk<\/em><\/a> (1)
\nbonang barung<\/em><\/a> (1)
\nbonang penerus<\/em><\/a> (1)
\nsaron demung<\/em> (2)
\nsaron ricik\/barung<\/em><\/a> (4)
\ngend\u00e8r penembung\/slenthem<\/em><\/a> (1)
\ngend\u00e8r barung<\/em><\/a> (1)
\ngend\u00e8r penerus<\/em> (1)
\ngambang kayu<\/em><\/a> (1)
\nclempung\/celempung<\/em> (1)
\nkendhang ageng\/gendhing<\/em> (1)
\nkendhang ketipung<\/em> (1)
\nkendhang alit\/batangan<\/em> (1)
\nsuling<\/em><\/a> (4)
\nbendh\u00e9<\/em> (general use instrument shared with other gamelans)
\nbedhug<\/em> (general use instrument shared with other gamelans)
\nrebab<\/em> (general use instrument shared with other gamelans)
\nsiter<\/em> (general use instrument shared with other gamelans)
\nkemanak<\/em> (general use instrument shared with other gamelans)
\nkec\u00e8r<\/em> (general use instrument shared with other gamelans)
\nkeprak<\/em> (general use instrument shared with other gamelans)<\/p>\n

<\/a>
The gamelan sl\u00e9ndro<\/em> K.K. Marikangen in its current location (2016) at nDalem Yudhaningratan.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Acquired: during the Reign of Sultan Hamengku Buwana II or III Type of Gamelan: common practice–modernized Tuning: sl\u00e9ndro Sources differ in regard to when K.K. Marikangen (“end of yearning”) was built. Kertanegara dates\u00a0the making of this common practice\u00a0gamelan sl\u00e9ndro to the reign of the Second Sultan (1792-1810), Purwodiningrat to that of the Third Sultan (1810-1814). … Continue reading “K.K. Marikangen”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":24,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-50","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/50","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/comments?post=50"}],"version-history":[{"count":34,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/50\/revisions"}],"predecessor-version":[{"id":2216,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/50\/revisions\/2216"}],"up":[{"embeddable":true,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/24"}],"wp:attachment":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/media?parent=50"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}