Customer Reviews

A House in Bali

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I am Balinese and live in Ubud, about 10 minutes walk from where Colin McPhee stayed, when he came to Bali in 1931. My aunt worked for him.

He heard a record of gamelan music in New York and couldn't wait to get to Bali to listen to the real thing.

He stayed in Bali for almost 8 years and set about documenting gamelan music. Much of his research was carried out in a village near Ubud where my Villas are. There are still old people in the village who remember him.

His book is beautifully written and tells stories of his adventures and life in the village and his encounters with the local Balinese. It's not necessary to understand technical music matters to enjoy this book - it is totally accessible.

Highly recommended.

Ever since I visited Bali in 1997, I've been hooked on anything Bali--gamelan music, the wayang puppets, the masks, the smell of kretek ( I don't smoke) and incense, frangipani flowers,... even the sputtering sound of motorcycles! I got my hands on all the National Geographic issues on Bali I could lay my hands on in second-hand bookshops .

When I found this book, I was almost certain I wasn't going to be disappointed. I was right. Consider, for instance, the blurb at the back of the book: "The graveryard, moreover, was a natural meeeting-place for witches and sorcerers, for every village had its suspects, owneres of books of spells that enabled the reader to change himself into a leyak--a ball of fire, a giant rat, or even a riderless motor cycle that travelled backwards. In this magic state sorcerers were indeed dangerous; they could send a man out of his wits or bring him to a lingering death."

Written by a musician, it doesn't fare so badly as a literary read. It captures the magic, mysticism, and soul of a place. A Bali experience is a sensory overload. Colin McPhee happily immersed himself in it and did a very impressive job.

Colin McPhee was a young American composer, just out of college in the early thirties when he heard a recording of Bali's unique gamelan music. Having time and (apparently) money, he traveled to the island, lived there for several years and studied the music. The book is a warm-hearted account of the people he knew, their lives and their music. Anyone thinking of a trip to Bali or just curious about the Balinese and their music must read this classic. Unfortunately, it is currently listed as not in stock by the publisher. If we pester them enough, perhaps they will print more.

A must-read for all those, like me, have fallen in love with Bali. McPhee tells a tale that many of us would like to live...and provides us with insight of all aspects of life on the island as it was in the 30s. I don't own anymore my copy of the book and I am desperate to get one...I hope it will be reprinted.

Even as the art & tradition of classical gamelan music fades in Java, gamelans are built & organized in America & Europe, the music is studied & taught in universities. This has occurred since the 70's, when recordings of gamelan music became widely available, particularly in a major series on Nonesuch Explorer. For many people, hearing gamelan for the first time is not only a delightfully exotic experience, the music unlike anything one has heard, but there is often also a strange shock of recognition, as if one somehow already knew the music, although where & how remains a mystery. Perhaps this is what happened to Colin McPhee. For McPhee in 1930, as for so many western musicians since, hearing gamelan inspired something like a religious conversion.

I was given an old copy of this book shortly after I heard gamelan for the first time, & so I was able to follow McPhee on his great adventure to find where the music came from. When he arrived in Bali, he discovered that although the culture was vibrantly alive, much of music was in danger of being lost. He met, befriended, & studied with some greatly talented Balinese musicians, old masters & several younger composers & leaders, including Wayan Lotring & Made Lebah. They set about restoring a Semar Pegulingan gamelan. The task of bringing this music back to life is the "plot" of the "A House In Bali." McPhee quickly realized that his western musical training was of limited value, because the "values" of music - technically & culturally - in Bali were so different. Music had popular, ritual, & concert functions, as in the West. But the music was inseparable from the instruments, & each collection of instruments - each gamelan, was unique. Compositions were learned by rote, in phrases, with the gamelan functioning as a kind of all-ages social club for men. McPhee had to become, as best he could, a person of Bali, a villager, someone with a place & a role in the life of the community. He recounts his immersion in Balinese life, As strange as Bali was for McPhee, he was the "stranger," the outsider, & he remained one, oddly indifferent to what the Balinese thought of his lifestyle. Most inexplicably, he seems not to have become a gamelan musician. One wonders not only how he resisted this experience, but also why?

McPhee later attempted to translate Balinese music into a western idiom using pianos & a symphony orchestra, with beautiful results, but losing what he had learned in the process, Sadly, when he returned home, he had left the most important stuff behind.

It's a very interesting book in regards to what I have actually read. It seems to have accounts on Balinese culture. I found it enjoyable and interesting to read because it not only talks about Balinese culture but about the conflict and clashes within the village like the little dancer named Sampih and his dance teacher Nyoman Kaler.

Colin McPhee conveys many interesting things like when bad luck happened in his home in Sayan and how they had to do a purification ceremony in regards to dispel the demons, witches and evil spirits. His wanderings in Bali to record music and study their music like the rare gamelan angklung and gamelan selonding from Tenganan who were the Bali Aga. Colin McPhee was drawn to the scintallinating sounds and metallic shimmer from the gamelan. At times there are humours accounts of what goes on between him and his friends that happen in the village or when they are touring around Bali. I found it enjoyable because, he seemed to have fitted in well with the Balinese people without too much problems compared with other writers before them spoke of barbarity and the animal like behaviour of the Balinese at certain functions. He writes with passion about what goes on and how things have changed with the colonial rule of the Dutch. The loss of autonomy by the Rajas who were reduced to poverty at times and how their obessions with cockfighting led to their ruin. Yet in times of despair and hardship they are always humble to him.

Overall the book contains a few photographs of his friends and colleagues. I found it wonderful and intriguing and as well as captiviting at times which he covers so many topics like the temple functions like Galungan, Wayang Kulit (Shadow Plays), the music club etc... This book you will grow to love like the book written by Miguel Corrovabias "Island of Bali".

I first read this book as an anthropology major at Harvard. I immediately wanted to go to Bali and experience it for myself. The book not only taught me about the tradition of the gamelon, but it also made me feel as if I was there. This book makes you want to pack a backpack and experience the Balinese culture .I hope to get a copy of this fine work someday.

I'm heading to Bali this month and this book provided a great intro to the customs and nature of this island. I'm even more excited to get there after reading it.

I first heard Gamelan was coming out of the oldest temple on the Island of Bali, near Ubud, and was reading this book at the time. I purchased the book at the Jakarta airport and was hooked by the first paragraph. I think that this is a wonderful, insight into the island, the music, it's people and culture. If you have a love for exotic music and or artform, this historical work is a captivating read. My only regret is that Colin McPhee never went back to his beloved Bali.

Within the first few pages the author refers to an iced drink as being, typical of the tropics, "hilariously colored." Such writing makes this a a read-all-night special. A House in Bali

A composer and musician, McPhee has great precision and freedom with his use of language, making the prose of this book good enough to eat with a spoon.

The story is even better than the writing: hearing a recording of the gamelan at a party in NYC, author Colin McPhee obtained permission to borrow the record for two days and listened to it nonstop for 48 hours. Then he immediately left for Bali. Finding the white society available in Bali at the time racist and boring, he moved into a village. Quickly convincing the locals of the seriousness of his interest in the gamelan, he studied the local and rival gamelan clubs absorbing both the music and the culture. This book is an epic love letter to Bali. And to some individuals, carefully, discreetly woven in. I found his departure from Bali wrenching -- I wanted him to live his whole life on this enchanted isle with the people he adores who adore him.
Proust has nothing on McPhee for nostalgia.

This book is like the first taste of some amazing exotic dish: everything is put together in ways that you might never have imagined, a kind of delicious that is foreign, new and simply a must have.