Kua Etnika play around with tradition<\/p>\n
By Singgir Kartana<\/p>\n
YOGYAKARTA (JP): The audience gave an extended ovation as
\nDjaduk Feriyanto and his group Kua Etnika finished their last
\npiece, Arigato.<\/p>\n
The musicians, who performed seven other compositions, all
\ntaken from their album Ritus Swara (Rites of Voices), stunned the
\nhundreds of spectators with their unique music during their
\nrecent performance at the Purna Budaya Building on the campus of
\nGadjah Mada University in Yogyakarta.<\/p>\n
The group is well-known, not only in their hometown of
\nYogyakarta, but also in other big cities across the country and
\noverseas. They are scheduled to perform at Taman Ismail Marzuki
\narts center in Central Jakarta from March 27 to March 29.<\/p>\n
Kua Etnika, which consists of about 25 people, is a phenomenal
\ngroup. For many people, especially those who are used to
\nlistening to conventional music, the group's repertoire might
\nsound strange. All of their compositions, with strong ethnic
\nnuances and fast rhythm patterns, are dynamic and accommodate a
\nlot of improvisation. The combination of diatonic and pentatonic
\nrhythms adds another color of the music -- strange but beautiful.<\/p>\n
With their percussions, including conga, bongo, drums, flutes,
\ntambourine and traditional Javanese drums, they explore the
\nesthetics of sound in compositions that are free from the usual
\npatterns we hear. This is no wonder, given that the instruments
\nproduce comical, naughty and wild rhythms. Many see the work of
\nKua Etnica as a rebellion against musical traditions.<\/p>\n
\"In working on the compositions, we stress the spirit to
\ncommunicate. Each sound or voice is not merely musical material,
\nbut a medium of communication. Be it communication among
\nourselves or between us and the audience,\" said Djaduk, the son
\nof famous choreographer Bagong Kussudiardjo.<\/p>\n
The group's compositions have references to various ethnical
\nrealms. There are nuances of Java, Bali, Sunda, China, Japan,
\netc. Therefore the name Kua Etnika -- Kua is short for kualitas,
\nor quality.<\/p>\n
For Djaduk, ethnical elements, both local and foreign, are an
\ninteresting reference for exploration. Arigato, for example, was
\nwritten when Djaduk was in Japan a few months ago and was
\ninspired by the rhythm of the Japanese musical instrument
\nsamizen. Even though he did not know the name of the music, the
\nexperience provided him aesthetic inspiration.<\/p>\n
Kua Etnika was established in mid-1997 with five key people:
\nDjaduk; his brother Butet Kertaredjasa (who is widely known as
\nthe king of monologue); Indra Tranggono; Purwanto; and Dwijo.
\nDjaduk and Butet previously were involved in the Gandrik and Paku
\ntheater groups, and Kiai Kanjeng, a music group led by Emha Ainun
\nNadjib which blended traditional and religious elements.<\/p>\n
Kua Etnika's is based in the Kersan hamlet of Tirtonirmolo,
\nBantul district, Yogyakarta. The group occupies a 600 square-
\nmeter building in the traditional Javanese joglo architectural
\nstyle, which is equipped with a recording studio. Once every 35
\ndays, the group organizes a discussion on arts.<\/p>\n
The building also is home to Sinten Remen, a kroncong Javanese
\nmusic group, the Gandrik theater group and Acapella Mataram.<\/p>\n
\"The Kua Etnika workshop is an umbrella for creativity,\" Butet
\nsaid.<\/p>\n
Djaduk and Kua Etnika have put out two albums, Nang Ning Nong
\nOrkes Sumpeg (Dang Ding Dong of Stuffy Orchestra) and Ritus
\nSwara. The first, a collaboration with Aminoto Kosin and Erwin
\nGutawa, was produced in 1977, while the second hit the market
\nearly this year with a limited run of 200.<\/p>\n
\"We only produced a limited number because we were not sure if
\npeople would accept this kind of music. Ours is marginal music,\"
\nDjaduk said.<\/p>\n
Whether it is marginal or not, the public's response has been
\nencouraging, as evidenced by the recent performance in
\nYogyakarta. What is important is that Djaduk and Kua Etnika have
\nthe courage to express themselves and melt the rigid definition
\nof ethnic music.<\/p>",
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