{"id":70,"date":"2016-10-17T16:19:37","date_gmt":"2016-10-17T16:19:37","guid":{"rendered":"http:\/\/vetter.sites.grinnell.edu\/gamelan\/?page_id=70"},"modified":"2018-02-19T21:40:45","modified_gmt":"2018-02-19T21:40:45","slug":"kyahi-sangumukti","status":"publish","type":"page","link":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/kraton-yogyakarta-gamelans\/kyahi-sangumukti\/","title":{"rendered":"Kyahi Sangumukti"},"content":{"rendered":"

Acquired:<\/strong> during the Reign of Sultan Hamengku Buwana X
\nType of Gamelan:<\/strong> common practice–modern
\nTuning:<\/strong> sl\u00e9ndro<\/i><\/p>\n

\"sangumukti<\/a>
One of the three gend\u00e8r barung<\/em> of the gamelan pair Kyahi Sangumukti and Kyahi Sangumulya.<\/figcaption><\/figure>\n

The gamelan sl\u00e9ndro<\/em> Kyahi Sangumukti (“abundant comfort”) along with its gamelan p\u00e9log<\/em> partner Kyahi Sangumulya (“abundant glory”) are the two most recent additions to the palace\u2019s collection of gamelans, the only ones\u00a0to\u00a0enter palace service during the reign of the Tenth Sultan. Both sets are\u00a0modern common practice gamelans\u00a0constructed in 1998 by the gamelan maker Pak Jumati of Surakarta. They are the only two palace gamelans the names of which are preceded by the honorific “Kyahi” rather than “Kangjeng Kyahi.” This distinction of rank is made because these sets\u00a0have not yet proven themselves to be worthy of the label “Kangjeng Kyahi.” G.B.P.H. Yudhaningrat told me that only the sultan can declare objects as being worthy of the “Kangjeng Kyahi” honorific and status.\u00a0My guess is that these gamelans will need to stand the test of time and that it is most likely a future sultan who will declare them as venerable inheritances from the reign of the Tenth Sultan. Gusti\u00a0Yudhaningrat said that the pair of gamelans cost Rupiah 55 million (about U.S.$5,500 in 1999) and that a good share of the expense was picked up by the Coca-Cola International Co. in\u00a0recognition of the effort by\u00a0the Kraton Yogyakarta to protect, perpetuate, and share Javanese court culture.[1]<\/abbr> It is interesting that the primary function\u00a0of these two gamelans since their introduction to the palace context has been\u00a0for music, dance, and puppet theatre performances scheduled and located so that\u00a0the hundreds of tourists that visit the Kraton Yogyakarta daily can have a convenient encounter with palace performing arts. The performers for these presentations are not palace musicians (abdidalem niyaga<\/em>), dancers, and puppeteers, but school and community music, dance, and puppet groups from around the Yogyakarta region who perpetuate the palace arts as they have been broadcast\u00a0from the kraton<\/em> over the past several decades. Therefore,\u00a0the spirit of the recognition behind the Coca-Cola gift seems to be honored in the deployment of these sets in the palace. However,\u00a0their current use is restricted to non-ceremonial functions of a public nature.\u00a0When an occasion arises for the palace musicians to perform outside of the palace and for a pair of gamelans to be transported to a performance site outside of the kraton<\/em>, this pair of \u201capprentice\u201d gamelans that will most likely be utilized.<\/p>\n

The instrumentation of K. Sangumukti is that of a modern common practice Yogyanese\u00a0gamelan sl\u00e9ndro<\/em>. Its full instrumentation is listed below. No 19th century archaic instruments such as the slentho<\/em>, the gambang gangsa<\/em>, and the cluring<\/em> are found in this set.<\/p>\n

Kyahi Sangumukti and Kyahi Sangumulya are identical in their appearance and meant to be set up as a double, or sl\u00e9ndro-p\u00e9log<\/em>, gamelan. Their flat surfaces are painted a dark brown with gold highlight set off against a bright\u00a0red background. The main carving motif is vegetation (lunglungan<\/em>), although on a number of the instruments the royal emblem<\/a> of the Hamengku Buwana lineage is prominently displayed. The carving atop all the racks<\/a> for the sets’ vertically-suspended gongs (gong ageng<\/em>, gong siyem<\/em>, and kempul<\/em>) is based on a decorative panel that once graced the wedding palanquin of the Seventh Sultan<\/a> and which, at least in the late 1990s and early 2000s, was on display in Bangsal Trajumas. The lambang<\/em> is elaborated on these stand caps to include the number “10” in Javanese script below the entwined “H” and “B”<\/a> to chronicle the sultan’s reign in which these sets entered the palace.<\/p>\n

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

<\/a>
The two gong ageng<\/em> (center, back), several of the kenong jaler<\/em> (foreground), and one of the kenong japan<\/em> (right) of the double gamelan K. Sangumukti and K. Sangumulya.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Acquired: during the Reign of Sultan Hamengku Buwana X Type of Gamelan: common practice–modern Tuning: sl\u00e9ndro The gamelan sl\u00e9ndro Kyahi Sangumukti (“abundant comfort”) along with its gamelan p\u00e9log partner Kyahi Sangumulya (“abundant glory”) are the two most recent additions to the palace\u2019s collection of gamelans, the only ones\u00a0to\u00a0enter palace service during the reign of the … Continue reading “Kyahi Sangumukti”<\/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-70","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/70","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=70"}],"version-history":[{"count":30,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/70\/revisions"}],"predecessor-version":[{"id":2227,"href":"https:\/\/vetter.sites.grinnell.edu\/gamelan\/wp-json\/wp\/v2\/pages\/70\/revisions\/2227"}],"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=70"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}