Pesinden
Pesinden was the term for the singing woman accompanies the gamelan orchestra, generally as the only singer. Pesinden that was good must have the wide communication capacity and the vowel expertise that were good as well as the capacity to sing the lyric.
Pesinden also often was acknowledged as Sinden, according to Ki-Mujoko Joko Raharjo came from words "pasindhian" that was significant that was rich in the song or that sang (sang out the song). Sinden was also mentioned waranggana "wara" meant someone of various female gender, and "anggana" was significant personally. In ancient waranggana was the only woman in the performance stage of the puppet or the stage klenengan. Sindhen indeed a woman who sang in accordance with gendhing that in served both in klenengan and the performance of the puppet. The term sinden also was used to mention the same thing in several areas like Sunda, Banyumas, Yogyakarta, East Java and the other area, that were connected with the performance of the puppet and klenengan. Sindhen not only one performance insider but for the moment in the performance of the puppet could reach eight as far as ten people in fact more for the performance that his characteristics were spectacular.
In the performance of the ancient puppet, Sinden sat behind the Mastermind, to be precise behind the trade person gender and in front of the trade person Kendhang. Only alone and usually the wife from the Mastermind or some pengrawit (the Player istrument the gamelan) in this performance. But together with the development of the time, especially in the Ki Narto Sabdho era that carried out various developments, Sindhen was shifted his place faced the spectator to be precise on the right of the Mastermind rebuffed simpingan the puppet with the number more than two people.
In this current modern Sindhen time got the position that almost was the same as the singer's artist campursari, in fact sindhen only was not needed to skilled in presenting the song but also must maintain the appearance, in a clothed manner that was neat and interesting. Sindhen rarely did not become "pepasren" (the decorator/beautified) a performance stage of the puppet. When Sindhen very pretty and young that watched more will feel at home in enjoying the performance of the puppet. The development of the puppet at this time in fact Sindhen was not only dominated by the woman but emerged several people Sindhen the man who had the sweet voice like the woman, but in his grooming sindhen this continued to wear Javanese traditional clothes properly pengrawit/the player isntrument the man's other gamelan and some time before Sindhen this man even to trend the masterminds to produce added value in his performance.
Read also Gamelan
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