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Abstract :
[en] Mystical Melodies in Madurese-Javanese Pigeon Competitions Audio-Poster showcasing recordings across three distinct and geographically diverse expressions of the Glundhângan as it exists in East Java today, offering a spectrum of instrumental interpretations that reflect themes of transplantation and renewal. They trace narratives of dissemination, outlining the breadth of shared cultural roots that have historically spread across the varied landscapes of Tapal Kuda - the horseshoe region of East Java - with the Glundhângan ensemble inseparably linked to Totalan doro, the traditional Madurese Javanese pigeon competitions. The rhythmic pulses of the dhong-dhong (slit drums from hibiscus wood) and Glundhângan (wooden xylophones) resonate through the skies, guiding pigeons in their aerial displays. The dhong-dhong, more than a rhythmic instrument, is the heartbeat of the ensemble, breathing life into the performance and reinforcing music's role in shaping human-animal relations. In Bondowoso, Glundhângan has thrived for over three generations, preserving a purer form compared to other regions. Today, only four traditional groups persist, located in Tamanan, Jember and Tlogosari, adhering to a musical style tethered to Madurese tradition. This compilation also includes both traditional and evolving forms of Madurese-Javanese Glundhângan from Biting and Kebonsari. Here, Glundhângan merges with Macapat (sung in the Osing Biting dialect), a form of Javanese sung poetry that reflects themes of longing, uncertainty, and life's fragility. Another track includes Ngèjhung - a traditional Madurese-Javanese singing style, often sung in private by older women during times of grief. In this recording, Jamhari, a male performer, adopts a female vocal timbre, enhancing emotional resonance in alignment with Javanese traditions. Despite recent adaptations that introduce vocal elements like Macapat and Ngejhung, this form remains distinct, balancing tradition with subtle shifts in Glundhângan style.