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date: 15 December 2019

Abstract and Keywords

This article explores how the potentially conflicting ideologies of gender and childhood impact children’s gamelans (Indonesian percussion ensembles) in Bali. It focuses on three community-based performing arts organizations. The first is Sanggar Çudamani in Pengosekan village, just south of Ubud. Directed by I Dewa Putu Berata and his American wife Emiko Saraswati Susilo, this sanggar includes an internationally touring adult men’s gamelan, dance classes for children, and an intensive study program for foreigners. The second organization is Sanggar Maha Bajra Sandhi, directed by Professor Ida Wayan Oka Granoka, in Batukandik, outside Bali’s provincial capital of Denpasar. Since the late 1990s, this sanggar has engaged boys and girls in gamelan music, dance, and traditional Balinese vocal styles. The third is Sanggar Pulo Candani Wiswakarma in Batubulan, which has been active since about 2002. This sanggar is directed by I Ketut Pradnya, who hires music teachers from across Bali to teach their specialties to the mixed-gender children’s gamelan ensemble.

Keywords: Indonesian, percussion ensembles, gender, childhood, community, performing arts, organizations, sanggar

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