Musical Coexistence of Gendhing Gati Mardawa in the Accompaniment of Bedhaya Sang Amurwabumi Dance
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Abstract
This study explores the coexistence of Javanese gamelan and European musical instruments in the accompaniment of Bedhaya Sang Amurwabumi, a classical dance from the Yogyakarta Palace. The research investigates the phenomenon of integrating European musical elements into Javanese gamelan, analyzing the historical context, aesthetic implications, and challenges of harmonization. Using a qualitative case study approach, the study examines compositions such as Gendhing Gati Mardawa, Gati Raja, and Beksan Lawung Ageng, highlighting the forced adaptation of European instruments into the pelog-tuned gamelan system. Despite tonal mismatches, this fusion persists in palace dance performances, reflecting cultural negotiation and artistic evolution. The findings reveal that European musical instruments are employed to fill melodic gaps, yet their integration remains contested due to tuning inconsistencies and potential disruptions to traditional gamelan aesthetics. The study contributes to the discourse on musical hybridity, cultural adaptation, and the dynamics of power relations in sound within Javanese performing arts.
Keywords: Musical coexistence, Javanese gamelan, palace dance, cultural adaptation, hybridity
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