The gamelan is at the centre of Bilawa Respati und Ariel Orah’s performance Gaung – Unpredictable Resonance on February 12 & 13. It is an instrument of power. The tradition is royal and religious. Both of them have grown up with this tradition. They know about the powerful expectations of this spiritual, political and – from the other side – exoticizing style of play. But their own experiences call for a different play. Can sound sequences be found that elude the hegemonic setting?

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