Uun Budiman and the Jugala Gamelan Orchestra’s Banondari: New Directions in Jaipongan

uun budimanOne realizes, after a while, that popular music, while it may appear in many guises, has certain things in common. Sometimes it is subject matter, sometimes it is more elusive. But, more on that later.

Jaipongan is a newly designated Sundanese “traditional” form that incorporates elements of several other Indonesian forms of traditional dance theater, Sundanese gamelan styles, and even pancang silat, a traditional martial art, along with influences from Western rock and pop music. Developed by Gugum Gumbira in the 1960s and 70s, it was for a time banned by the Indonesian government for being “immoral.” Gugun soon thereafter founded the Jugala recording studio and the Jugalan Gamelan Orchestra, which in succeeding years has racked up an impressive series of hits. Somewhere along the line, jaipongan became a traditional form.

Uun Budiman began singing with puppet theaters as a teenager and later began singing jaipongan. At the invitation of Gugum, she joined the Jugala Gamelan Orchestra for this recording, her international debut.

The music in Banondari reveals a strong foundation in gamelan with its shimmering textures on gongs and metallophones and the driving rhythms. The songs to fall very much into the “popular” area, being mostly about love. Uun Budiman’s vocals, which seem to float above the instrumentals, have been described as “ethereal,” but I’m not sure that’s really the most accurate description. There are sections win which her voice does take on an almost angelic quality, but there are others in which she has all the brass of a diva on the Broadway stage.

Which leads me back to those commonalities I mentioned earlier. Odd as it may seem, when I first listened to this disc, I got a strong sense of show tunes. Or course, these are popular songs, although in an idiom I had not previously encountered, but in addition to the traditional subjects of such songs, there is a definite dramatic quality, as though we were hearing a portion of a larger narrative — I suspect a live performance, in keeping with most Indonesian music, would offer more than a “concert version” such as is presented on this recording.

At any rate, it’s a very interesting listening experience, although as might be expected given the Southeast Asian attitude toward tonalities, for Westerners not used to Indonesian music the singing takes some getting used to. I found myself acclimating quite easily, however — in fact, Uun Budiman’s presence as a soloist is such that I found myself quite absorbed.

(Felmay, 2006)


Robert M. Tilendis lives a deceptively quiet life. He has made money as a dishwasher, errand boy, legal librarian, arts administrator, shipping expert, free-lance writer and editor, and probably a few other things he’s tried very hard to forget about. He has also been a student of history, art, theater, psychology, ceramics, and dance. Through it all, he has been an artist and poet, just to provide a little stability in his life. Along about January of every year, he wonders why he still lives someplace as mundane as Chicago; it must be that he likes it there. You may e-mail him, but include a reference to Green Man Review so you don’t get deleted with the spam.

More Posts - Website