When I was doing fieldwork in Yogyakarta in 1989 and 1990, I commissioned a small slendro Yogyanese gamelan from Ki Suhirdjan. Due to budget and space constraints, I requested a very simple set of brass and iron instruments with the gongs made from recycled oil barrels. It is amazing to hear the deep resonance that these humble gongs produce. The gender and slenthem have brass keys and the saron and bonang (with brass bosses) are iron. Overall, Dewi Sri has a lovely bright sound and Ki Suhirdjan’s original tuning has remained remarkably stable all these years. As I do not have a lot of space in my apartment, I had a kenong renteng made in place of full sized kenong and frames. Each kenong pitch is represented on a brass slab like a slenthem key with a raised boss. In addition there is a kethuk key. I asked for a rosewood stain for the frames with gold highlights for the carved motif and the name Sri in honor of the rice goddess, in a circle in Javanese script and was quite pleased with the results.
Every time I look at or play on Dewi Sri, or see photos of her performances, I think of Mas Hirdjan and how kind and gentle he was. It goes without saying that he was a fabulous kendhang player with such graceful hands. Ki Suhirdjan will always have a very special place in my heart and somehow I feel that a part of him resides with Dewi Sri.
The gongs of Dewi Sri in Kahala Hawai‘i in the 90s.
(Photo courtesy Bill Remus)
The saron and gongs of Dewi Sri in 1991, Kahala, Hawai‘i.
(Photo courtesy Bill Remus)
Trying out the unusual but practical kenong renteng.
(Photo courtesy Heather Strohschein)
Performance at the Honolulu Academy of Arts by members of the UH Ethnomusicology student organization as a statue of (could it be Dewi Sri herself?) looks on.
(Photo courtesy Heather Strohschein)