Cover Rhythm in Bronze's performance for Arus Gangsa saw the group staged in a circular placement
Rhythm in Bronze's performance for Arus Gangsa saw the group staged in a circular placement
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In this Tatler exclusive, we sit down with the musicians of award-winning gamelan theatre troupe, Rhythm in Bronze, a pioneering women-led musical group who balances the fine line between the traditional and the contemporary
Music, one of the oldest art forms of human civilisation, is a cultural heritage that reflects the zeitgeist of the times. While musical behaviours have evolved alongside the world’s increasing interconnectedness, their essence remains unchanged.
The Malay gamelan, deeply intertwined with Malaysia’s national identity, embodies the delicate balance between past and present. While rooted in its Indonesian origins, the Malaysian gamelan is distinguished between two styles: the Johor gamelan, which is similar to the Javanese gamelan’s softer, mellower playing style; and the Terengganu gamelan, also referred to as the Pahang gamelan—or, the Malay gamelan we know today.
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The Malay gamelan
Above Closeup of the ‘keromong’, which is a set of 10 small kettle gongs (Image: iStock)
Above Rhythm in Bronze uses the traditional Malay gamelan ensemble, but their own twist.
Closeup of the ‘keromong’, which is a set of 10 small kettle gongs (Image: iStock)
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In the 19th-century Riau-Lingga empire’s royal courts, the Malay gamelan and joget gamelan (classical Malay dance) flourished. By World War II, however, the art forms’ popularity diminished, and co-currently, so did the number of instructors.
It was only in 1966 that Tan Sri Mubin Sheppard, a World War II veteran turned civil servant in then-Malaya, recovered a set of bronze gamelan instruments tucked away in the Istana Kolam. They belonged to the late Sultan Sulaiman Badrul Alam Syah and the late Tengku Ampuan Mariam, both patrons of the gamelan and trained artists themselves.
Fast forward to 1969, during the Music and Drama Festival held at Universiti Malaya Kuala Lumpur, the Terengganu Royal Gamelan Orchestra made its first-ever public performance. And in 1970, a new era of gamelan music was ushered in.
Today, while the Malay gamelan is kept alive by many active groups, the public’s perception of the genre is limited, believing that the gamelan is only used for formal occasions and ceremonial practices.
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Rhythm in Bronze
Founded by ethnomusicologist and gamelan player Sunetra Fernando, Rhythm in Bronze, driven by their love for music, emerged with a contemporary approach. With collaborators like executive producer Sharmini Ratnasingam and artistic director Jillian Ooi, they aimed to craft a novel sound for Malay gamelan. They emphasised mastering the fundamental aspects of various gamelan types while acknowledging the instrument's percussion potential.
Their goal was twofold: honour tradition by retaining its essence and explore the instrument's musical capabilities. Though not recreating authentic royal court gamelan, they respected its roots while forging new musical paths.
Their custom-made gamelan set, “Tejasuara”, sourced from Solo, Indonesia, adheres to the pentatonic Javanese slender scale and Malay gamelan tuning while enabling Rhythm in Bronze to uncover the instruments' novel timbres and textures. Sharmini noted that Sunetra introduced a concert-like rendition, lending a Westernised touch with conceptualised performances in formal halls. Initially focused on creating pure music, they later incorporated performative aspects, elevating their art as a result.
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A balance between the past and present
Above Rhythm in Bronze performing at the Esplanade.
Rhythm in Bronze performing at the Esplanade.
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Dubbed the “rule-breakers” by many who were accustomed to the sound of classical Malay gamelan, Rhythm in Bronze's concertised version was practically unheard of. And being led and played by an all-women ensemble? It was almost scandalous!
“Traditionally, public performances of the Malay gamelan were usually played by men, so we were understandably met with a lot of pushback,” Sharmini says. “And what was controversial at the time was Rhythm in Bronze being a multiracial gamelan group. When we debuted in 1997, many asked us questions like, ‘why were we, a multiracial group, playing the Malay gamelan? In fact, why were we doing this at all?’’’
The group was nearly prevented from participating a festival once, as one of the managing panellists vetoed their presence saying that they were “tainting” the essence of gamelan.
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But Sharmini and Nuradilla “Dillie” Mohamad Fauzi (a gamelan musician with Rhythm in Brinze) saw the critique as feedback that enabled the group to venture out of their comfort zones.
“Our purpose is to create good music, which was what we set out to do in the first place,” states Sharmini. “When we performed in our very first festival, people didn’t know who we were. We were the new kids on the block, whereas everyone else was an established gamelan group.
“And I remember the shocked reactions when we finally played, as if to say, ‘Wait, what was that?’ This was because, at the time, we decided to add a guitarist to our performance. By the time the next festival came around, we changed up our repertoire and had a dancer perform alongside us. But you wouldn’t believe what happened—everyone brought their own guitarist! And in the next festival, you could see dancers in every group.”
A song of Mother nature’s lesser-known gifts
The message was clear: although not everyone approved of their group, Rhythm in Bronze was undoubtedly the trendsetter when it came to contemporary Malay gamelan. The group took the negatives in stride and refused to box away their ambitions for gamelan music. So, they persisted, continuing to explore the genre in any way they could.
And for Rhythm in Bronze’s recent concert in late August, “Seruan Setu—The Secret Gardens of the Sea”, Sharmini hints that the group intends to take their music “to the next level”. As the show’s theme was an in-depth story about seagrass and its ecological importance, the group visited the Immersive Lab at Mukim Tanjung Kupang, Johor, in February to understand the subject better.
“We pushed other projects aside to go ahead with this one, and I’m glad we did,” says Sharmini. “Somehow, the universe had brought us the right people for the project: Dato’ Zahim Albakri as our director, Aida Redza as our choreographer, Khairi Anwar as our videographer, Mac Chan as our lighting designer and Mark Teh from The Five Arts. We even have eight composers, who have produced ten different stories for us.”
The future of Malay gamelan
Above Rhythm in Bronze's “Mantera Nelayan” performance for their Arus Gangsa concert
Rhythm in Bronze's “Mantera Nelayan” performance for their Arus Gangsa concert
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While contemporary forms of the Malay gamelan have started to take root in local shores, the question Rhythm in Bronze had asked themselves was this: how can they elevate the gamelan beyond the ASEAN region?
“In Malaysia, even amidst our presence since the 1990s, contemporary gamelan theatre remains largely unknown,” laments Sharmini. She envisions global recognition inspired by foreign counterparts. Many perceive Malay gamelan as slow and reserved for formal occasions. Rhythm in Bronze aims to introduce global audiences to its richness, demonstrating its diversity beyond Javanese, Balinese, and Sundanese traditions while establishing a distinctive global identity.
Dillie, a genetic scientist at Universiti Malaya, views gamelan as a bridge to her heritage. She regrets local youths’ lack of awareness regarding gamelan's potential for Malaysian society. The gamelan’s roots span the Nusantara region, and its evolution parallels biological species' development, intriguing Dillie. In Indonesia, the gamelan is [integrated into their education], which in turn encourages their youth to embrace the gamelan’s relevance and fuse it with modern sounds. Dillie aspires for Malaysians to similarly value their cultural heritage's continuity.
“One day, I hope that Malaysians will come to see [the gamelan] the same way that the Indonesian youths do—that there is value to the continuation of our cultural heritage. Rhythm in Bronze may be contemporary, but the biggest reason as to why I joined the group was because we’re deeply rooted to our foundations, and thus are able to create a defining sound that represents our homeland.”
“Seruan Setu—The Secret Gardens of the Sea”, will be premiering August 24th till August 27th. To know more or to buy your tickets, visit their website at https://www.rhythminbronze.com/.
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Images: courtesy of Rhythm in Bronze
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Usually found at home and one with her couch, Koy Yi would either crack open a good book or game in her spare time to wind down after a long day. She also loves to scour art conventions and book fairs alike when she's able, collecting art books of all regions to gain inspiration for her own illustrations. With a keen interest in people and the stories they tell, she enjoys a good talk and a good laugh (preferably over food). Follow her on her Instagram @peiyi57.
