Gamelan Selunding

Gamelan selunding is widely regarded as one of Bali’s oldest ensemble types, rooted in the Bali Aga (pre-Majapahit) communities of East Bali. Its iron-keyed metallophones (selunding) and pentatonic tuning reflect a conservative ceremonial idiom used to accompany offerings, processions, and village rites. By the 1300s–1400s, as Javanese cultural influence intensified in Bali, selunding coexisted alongside other courtly and temple ensembles while retaining its local ritual identity.

Through centuries of change—courtly patronage, colonial encounters, tourism, and the rise of modern genres—selunding ensembles in villages like Tenganan Pegringsingan safeguarded repertoires, tunings, and performance protocols. The repertoire is transmitted orally, and instruments are often consecrated ritual objects; their music is not generic concert fare but specifically aligned with calendrical cycles and temple observances.

In the 20th century, spectacular styles (e.g., kebyar) drew public attention, but selunding continued to function as sacred music within its home communities. Cultural preservation efforts, documentation, and pedagogy in Bali helped stabilize and publicly present selunding, encouraging village ensembles to maintain instrument sets and ritual knowledge.

Today, gamelan selunding remains a living ritual tradition. Ensembles in East Bali perform for temple festivals and local ceremonies, and the music’s meditative, archaic sound has become an emblem of Bali’s deep historical layers. Occasional stage presentations introduce selunding to broader audiences, but its heart remains in village ritual practice.