Agung
Encyclopedia
The agung is a set of two wide-rimmed, vertically-suspended gong
s used by the Maguindanao
, Maranao
and Tausug people of the Philippines
as a supportive instrument in kulintang ensemble
s. The agung is also ubiquitous among other groups found in Palawan
, Panay
, Mindoro
, Mindanao
, Sabah
, Sulawesi
, Sarawak
and Kalimantan
as an integral part of the agung orchestra.
The agung is a large, heavy, wide-rimmed gong shaped like a kettle gong. of the agung produces a bass sound in the kulintang orchestra and weighs between 11 and 15 pounds, but it is possible to find agungs weigh as low as 5 pounds or as high as 20 or 30 pounds each, depending on the metal (bronze
, brass
or iron
) used to produce them.
Though their diameters are smaller than the gandingan’s, at roughly 22 inches (558.8 mm) to 24 inches (609.6 mm) in length, they have a much deeper turned-in takilidan (rim) than the latter, with a width of 12 to 13 inches (330 mm) including the knob.
They are hung vertically above the floor at or a bit below the waist line, suspended by ropes fastened to structures like strong tree limb, beam of a house, ceiling, or gong stand.
The larger, lower pitched gong of the two is called the pangandungan by the Maguindanao and and the p'nanggisa-an by the Maranao. Played on the musician's right, it provides the main part, which it predominantly played on the accents of the rhythmic structure.
The smaller, higher pitched gong, the thicker of the two, is called the panentekan by the Maguindanao and the p'malsan or pumalsan by the Maranao. Found on the player’s left, it is mainly played on the weaker double and triple beats of the rhythmic structure, in counterpoint to the pangandungan's part.
, noting that the word agung/agong is derived from the Malay
agong and Indonesian
/Javanese
ageng.
Further evidence of this comes from a British explorer, Thomas Forrest
, who in 1770's wrote Filipinos were “fond of musical gongs which came from Cheribon
on Java
and have round knobs on them.”
The agung is usually performed while standing beside the instrument, holding the upper edge of its flange
between the thumb and other fingers with the left hand while striking the knob with the right hand. The mallets, called balu, are made from short sticks about half a foot in length and padded with soft but tough material such as rubber at one end. Using these balus, players handle the agung similar to the way a brass tom-tom is played.
A series of solid, fast decaying sounds are produced using dampening techniques. The desired effect is produced after striking the knob, by leaving one’s hand or knee or the mallets themselves on it. When one player is using two gongs, the assistant holding the lower-pitched gong positions it at an angle and dampens its surface using their hands.
Recently, new ways of handling the agung have emerged, including grasping a portion of the boss rather than the flange to dampen or using regular strokes upon the busel while striking the surrounding gong surface with the opposite, wooden end of the beater. The latter technique, called katinengka, is used by downriver musicians to produce metallic sounds during kulintang performances.
Different combinations of players, gongs and mallets can be used for playing the agung: two players with each assigned their own gong or just one. When playing alone, the agung player could either play both gongs with the player holding the higher-pitched gongs face-to-face, with the lower one held at an angle by an assistant for stability, or just one gong. The latter style, common among downriver Maguindanaos in Simuay, who consider this style an old one, uses only the higher-pitch gong for it, unlike the lower-pitched gong, is considered the lead gong, therefore having primary importance. An example of this is when single gong agungs are used during a tagunggo piece.
The number of mallets used by the player could also vary as well. For most occasions, only one mallet is used but for other techniques, the player could use two mallets, one in each hand. An even more interesting technique uses only one balu but requires the player to play the agung in reverse order of pitches. Called patuy, this technique and the one with two mallets are normally reserved only for competition and exhibition instances.
Among both the Maguindanao and the Maranao, the agung embodies all that is masculine and thus the agung is traditionally considered a masculine instrument. To be considered a good player, one must possess strength, stamina (playing extremely fast tempos with no mistakes) and endurance. Players must also exhibit improvisation skills for different patterns to be considered as having quality musicianship—lest the audience considers the patterns played repetitions and mundane.
Because of the highly skilled nature required for playing the agung, it is not uncommon to see agung players have friendly rivalries during a performance, using tricks in an attempt to throw others off-beat. For instance, if the p’nanggisa’s elaborations are so elusive that the p’mals has a hard time ornamenting or if the reversed happens and the p’mals ornaments to the point the p’nanggisa’s performance is engulfed, the player that cannot keep up is usually embarrassed, becoming the butt of jokes. Normally agung players switch off after each piece, but during instances like this where one player cannot handle the part being played, players either remain at their gongs or switch during the performance. It is also possible for agung players to switch places with the dabakan after two pieces. Even though the players compete, they still understand they are a single entity, closely accompanying the melody, employ different variations without destroying the music’s basic patterns.
There was also a secondary motive for men, especially young males, for learning the agung: the ability to interact with young, unmarried women. Both Maranao and Maguindanao cultures traditionally adhere to Islamic customs which prohibit dating or causal conversation between the opposite sexes (unless married to or related to by blood) and therefore performances such as kulintang music provided the opportunity for such a connection. Among the Maguindanao, the rhythmic modes of duyog and sinulog a kamamatuan allowed agung players to serenade the young, unmarried women on the kulintang. Tidto, the other rhythmic mode, could also be used but players rarely use this for serenading since the kulintang player is usually an older woman.
, the kulintang orchestra uses not two but three low-sounding agungs, which serve as accompaniment in Tausug, Samal and Yakan ensembles. For the Tausug and Samal, the largest of the agungs with a wide turned-in rim is called the tunggalan or tamak , which provides slow, regular beats, similar to the Maguindanaon pangandungan and Maranao p’nanggisa-an. The smaller pair of agungs, the duahan, syncopate with the tunggalan/tamak. These are further classified: the wider-rimmed duahan is called the pulakan and the narrower one is called the huhugan or buahan by the Tausug and bua by the Samal.
Agungs also play a major role in agung orchestras—ensembles composed of large hanging, suspended or held, knobbed gongs which act as drones without any accompanying melodic instrument like a kulintang. Such orchestras are prevalent among Mindanao Lumad groups (Bagobo, Bilaan, Bukidon, Hanunoo, Magsaka, Manabo, Mangyan
, Palawan, Subanun, T’boli
, Tagakaolu, Tagbanua
and the Tiruray), regions in Kalimantan
and Indonesia
(Iban
, Modang, Murut
) and Sabah and Sarawak in Malaysia (Bidayuh
, Iban
, Kadazan
-Dusan, Kajan, Kayan), places where agung orchestras take precedence over kulintang-like orchestras. The composition and tuning of these orchestras vary widely from one group to another. For instance, the Hanunoo of Mindoro have a small agung ensemble consisting of only two light gongs played by two musicians on the floor in a simple duple rhythm while the Manobo have an ensemble (called an ahong) consisting of 10 small agungs hung vertically on a triangular frame. It includes three musicians: one standing up, playing the melody, and the rest sitting. The ahong is divided by purpose, with the higher-pitched gongs (kaantuhan) carrying the melody, three to four lower-pitched gongs (gandingan) playing melodic ostinato
figures, and the lowest-pitched gong (bandil) setting the tempo.
The Tiruray call their agung ensemble a kelo-agung, kalatong, or karatung. It is made up of five shallow bossed gongs of graduating size, each played by one person. The smallest, the segaron, is used as the lead instrument, providing a steady beat. The Manobo sagabong ensemble follows a similar format, consisting of five small gongs, each held by one musician playing a unique pattern with rubber mallets, interlocking with other parts. The T’boli and Palawan have similar agung ensembles: the T’boli ensemble is composed of three to four agungs with two to three of them collectively called semagi which play variations, and the other agung, tang, providing a steady beat. The Palawan call their ensemble, composed of four gongs, a basal. It includes one to two large humped, low-sounding agungs and a pair of smaller humped, higher-pitched sanangs which produce metallic sounds. The Subanon also have an agung ensemble similar to the Tiruray karatung, called a gagung sua.
Both the Bagabo and the B’laan refer to their agung ensemble as a tagunggo, a set of eight metal gongs suspended on a harness, which is played by two, three, or more people. Seven of the smaller-sized gongs produce a running melody with the eighth, largest gong playing syncopation with the other gongs to produce a particular rhythm. The Manabo also have an agung ensemble similar to the tagunggo, called a tagungguan.
The Kadazan-Dusun, located on the western coast of Sabah
, refer to their agung ensemble as a tawag or bandil, which consists of six to seven large gongs in shoreline groups and 7–8 large gongs for those in interior valleys. In southwestern Sarawak
, Bidayuh
agung ensembles consist of nine large gongs divided into four groups (taway, puum, bandil, and sanang), while among the Iban
of Sawarak, Brunei
, Kalimantan, agung ensembles are smaller in comparison.
Such ensembles can either perform alone or with one or two drums, played with the hands or wooden sticks, as accompaniment. They play either homophonically or in an interlocking fashion with the gongs. These agung orchestras often perform at many types of social events, including agriculture rituals, weddings, victory celebrations, curing rites, rituals for the dead, entertainment for visitors, and other community rituals.
Gong
A gong is an East and South East Asian musical percussion instrument that takes the form of a flat metal disc which is hit with a mallet....
s used by the Maguindanao
Maguindanao people
The Maguindanao are part of the wider Moro ethnic group, who constitute the sixth largest Filipino ethnic group. Their name means “people of the plains”.-Pre-Spanish:...
, Maranao
Maranao
Maranao is the term used for the people of Lanao, a predominantly Muslim region in the Philippines island of Mindanao. They are famous for their artwork, sophisticated weaving, wood and metal craft, and their epic literature...
and Tausug people of the Philippines
Philippines
The Philippines , officially known as the Republic of the Philippines , is a country in Southeast Asia in the western Pacific Ocean. To its north across the Luzon Strait lies Taiwan. West across the South China Sea sits Vietnam...
as a supportive instrument in kulintang ensemble
Kulintang
Kulintang is a modern term for an ancient instrumental form of music composed on a row of small, horizontally-laid gongs that function melodically, accompanied by larger, suspended gongs and drums...
s. The agung is also ubiquitous among other groups found in Palawan
Palawan
Palawan is an island province of the Philippines located in the MIMAROPA region or Region 4. Its capital is Puerto Princesa City, and it is the largest province in the country in terms of total area of jurisdiction. The islands of Palawan stretch from Mindoro in the northeast to Borneo in the...
, Panay
Panay
Panay may refer to*Panay Island*Panay *Panay, Capiz*Panay River*Panay Gulf* USS Panay *Panay incident...
, Mindoro
Mindoro
Mindoro is the seventh-largest island in the Philippines. It is located off the coast of Luzon, and northeast of Palawan. The southern coast of Mindoro forms the northeastern extremum of the Sulu Sea.-History:...
, Mindanao
Mindanao
Mindanao is the second largest and easternmost island in the Philippines. It is also the name of one of the three island groups in the country, which consists of the island of Mindanao and smaller surrounding islands. The other two are Luzon and the Visayas. The island of Mindanao is called The...
, Sabah
Sabah
Sabah is one of 13 member states of Malaysia. It is located on the northern portion of the island of Borneo. It is the second largest state in the country after Sarawak, which it borders on its southwest. It also shares a border with the province of East Kalimantan of Indonesia in the south...
, Sulawesi
Sulawesi
Sulawesi is one of the four larger Sunda Islands of Indonesia and is situated between Borneo and the Maluku Islands. In Indonesia, only Sumatra, Borneo, and Papua are larger in territory, and only Java and Sumatra have larger Indonesian populations.- Etymology :The Portuguese were the first to...
, Sarawak
Sarawak
Sarawak is one of two Malaysian states on the island of Borneo. Known as Bumi Kenyalang , Sarawak is situated on the north-west of the island. It is the largest state in Malaysia followed by Sabah, the second largest state located to the North- East.The administrative capital is Kuching, which...
and Kalimantan
Kalimantan
In English, the term Kalimantan refers to the Indonesian portion of the island of Borneo, while in Indonesian, the term "Kalimantan" refers to the whole island of Borneo....
as an integral part of the agung orchestra.
Description
Bronze
Bronze is a metal alloy consisting primarily of copper, usually with tin as the main additive. It is hard and brittle, and it was particularly significant in antiquity, so much so that the Bronze Age was named after the metal...
, brass
Brass
Brass is an alloy of copper and zinc; the proportions of zinc and copper can be varied to create a range of brasses with varying properties.In comparison, bronze is principally an alloy of copper and tin...
or iron
Iron
Iron is a chemical element with the symbol Fe and atomic number 26. It is a metal in the first transition series. It is the most common element forming the planet Earth as a whole, forming much of Earth's outer and inner core. It is the fourth most common element in the Earth's crust...
) used to produce them.
Though their diameters are smaller than the gandingan’s, at roughly 22 inches (558.8 mm) to 24 inches (609.6 mm) in length, they have a much deeper turned-in takilidan (rim) than the latter, with a width of 12 to 13 inches (330 mm) including the knob.
They are hung vertically above the floor at or a bit below the waist line, suspended by ropes fastened to structures like strong tree limb, beam of a house, ceiling, or gong stand.
The larger, lower pitched gong of the two is called the pangandungan by the Maguindanao and and the p'nanggisa-an by the Maranao. Played on the musician's right, it provides the main part, which it predominantly played on the accents of the rhythmic structure.
The smaller, higher pitched gong, the thicker of the two, is called the panentekan by the Maguindanao and the p'malsan or pumalsan by the Maranao. Found on the player’s left, it is mainly played on the weaker double and triple beats of the rhythmic structure, in counterpoint to the pangandungan's part.
Origins
Scholars seem to agree that the origins of the agung are in IndonesiaIndonesia
Indonesia , officially the Republic of Indonesia , is a country in Southeast Asia and Oceania. Indonesia is an archipelago comprising approximately 13,000 islands. It has 33 provinces with over 238 million people, and is the world's fourth most populous country. Indonesia is a republic, with an...
, noting that the word agung/agong is derived from the Malay
Malay language
Malay is a major language of the Austronesian family. It is the official language of Malaysia , Indonesia , Brunei and Singapore...
agong and Indonesian
Indonesian language
Indonesian is the official language of Indonesia. Indonesian is a normative form of the Riau Islands dialect of Malay, an Austronesian language which has been used as a lingua franca in the Indonesian archipelago for centuries....
/Javanese
Javanese language
Javanese language is the language of the Javanese people from the central and eastern parts of the island of Java, in Indonesia. In addition, there are also some pockets of Javanese speakers in the northern coast of western Java...
ageng.
Further evidence of this comes from a British explorer, Thomas Forrest
Thomas Forrest (navigator)
Thomas Forrest was an English navigator who worked for the British East India Company.-Life:He appears to have served for some time in the Royal Navy, and to have been a midshipman in 1745. Passages in his own writings show that he was employed in Indian waters from 1753 almost continuously...
, who in 1770's wrote Filipinos were “fond of musical gongs which came from Cheribon
Cirebon
Cirebon is a port city on the north coast of the Indonesian island of Java. It is located in the province of West Java near the provincial border with Central Java, approximately 297 km east of Jakarta, at .The seat of a former Sultanate, the city's West and Central Java border location have...
on Java
Java
Java is an island of Indonesia. With a population of 135 million , it is the world's most populous island, and one of the most densely populated regions in the world. It is home to 60% of Indonesia's population. The Indonesian capital city, Jakarta, is in west Java...
and have round knobs on them.”
Technique
Flange
A flange is an external or internal ridge, or rim , for strength, as the flange of an iron beam such as an I-beam or a T-beam; or for attachment to another object, as the flange on the end of a pipe, steam cylinder, etc., or on the lens mount of a camera; or for a flange of a rail car or tram wheel...
between the thumb and other fingers with the left hand while striking the knob with the right hand. The mallets, called balu, are made from short sticks about half a foot in length and padded with soft but tough material such as rubber at one end. Using these balus, players handle the agung similar to the way a brass tom-tom is played.
A series of solid, fast decaying sounds are produced using dampening techniques. The desired effect is produced after striking the knob, by leaving one’s hand or knee or the mallets themselves on it. When one player is using two gongs, the assistant holding the lower-pitched gong positions it at an angle and dampens its surface using their hands.
Recently, new ways of handling the agung have emerged, including grasping a portion of the boss rather than the flange to dampen or using regular strokes upon the busel while striking the surrounding gong surface with the opposite, wooden end of the beater. The latter technique, called katinengka, is used by downriver musicians to produce metallic sounds during kulintang performances.
Different combinations of players, gongs and mallets can be used for playing the agung: two players with each assigned their own gong or just one. When playing alone, the agung player could either play both gongs with the player holding the higher-pitched gongs face-to-face, with the lower one held at an angle by an assistant for stability, or just one gong. The latter style, common among downriver Maguindanaos in Simuay, who consider this style an old one, uses only the higher-pitch gong for it, unlike the lower-pitched gong, is considered the lead gong, therefore having primary importance. An example of this is when single gong agungs are used during a tagunggo piece.
The number of mallets used by the player could also vary as well. For most occasions, only one mallet is used but for other techniques, the player could use two mallets, one in each hand. An even more interesting technique uses only one balu but requires the player to play the agung in reverse order of pitches. Called patuy, this technique and the one with two mallets are normally reserved only for competition and exhibition instances.
Kulintang ensemble
The main use for the agung in Maguindanao and Maranao society is as a supportive/accompanying instrument of an orthodox kulintang ensemble. Using basic patterns and interlocking rhythms, a player would use the agung to complement the melody played by the kulintang. The patterns players use are normally considered freer than either the babendil or the dabakan; players could manipulate the patterns freely as long as they conform, reaffirm, reinforce and even generate the rhythmic mode of the piece. The length of the patterns themselves may vary depending on how they fit into the melodic improvisation. Rapid style is useful especially during exhibition of playing skills.Among both the Maguindanao and the Maranao, the agung embodies all that is masculine and thus the agung is traditionally considered a masculine instrument. To be considered a good player, one must possess strength, stamina (playing extremely fast tempos with no mistakes) and endurance. Players must also exhibit improvisation skills for different patterns to be considered as having quality musicianship—lest the audience considers the patterns played repetitions and mundane.
Because of the highly skilled nature required for playing the agung, it is not uncommon to see agung players have friendly rivalries during a performance, using tricks in an attempt to throw others off-beat. For instance, if the p’nanggisa’s elaborations are so elusive that the p’mals has a hard time ornamenting or if the reversed happens and the p’mals ornaments to the point the p’nanggisa’s performance is engulfed, the player that cannot keep up is usually embarrassed, becoming the butt of jokes. Normally agung players switch off after each piece, but during instances like this where one player cannot handle the part being played, players either remain at their gongs or switch during the performance. It is also possible for agung players to switch places with the dabakan after two pieces. Even though the players compete, they still understand they are a single entity, closely accompanying the melody, employ different variations without destroying the music’s basic patterns.
Interactions with the opposite sex
Contest
The latter mode actually is reserved specifically for solo agung contest. Unlike other Southern Filipino groups who participate in group contest, the Maguindanao are unique in that they also hold solo agung contest to find out who in the community is the best papagagung (expert agung player). Tidto is prefect for such contest since the agung is often the focus of attention, the focal point during the ensemble during this mode. Players normally perform two or more versions playing the three types of techniques discussed above.Signaling and the supernatural
Other than its use in the kulintang ensemble, the agung also had other non-ensemble uses among the Maguindanao and Maranao. The agung has been used to warn others of impending danger, announcing the time of day and other important occasions. For instance, long ago the sultan would beat the agung repeatedly to announce the onset of a meeting or during the fasting month of Ramadhan, the agung would ring either at three in the morning to indicate the signal to eat (sawl) or at sunset, to mark the end for fasting that day. And supposedly due to the deep, loud sound the agung produces, people believed that it possessed supernatural powers. For instance, during an earthquake, the locals of Maguindanao would strike the agung in a fast, loud rhythm called baru-baru, believing its vibrations would either lessen or even halt the jolt of an earthquake.Kulintang ensembles
In the Sulu ArchipelagoSulu Archipelago
The Sulu Archipelago is a chain of islands in the southwestern Philippines. This archipelago is considered to be part of the Moroland by the local rebel independence movement. This island group forms the northern limit of the Celebes Sea....
, the kulintang orchestra uses not two but three low-sounding agungs, which serve as accompaniment in Tausug, Samal and Yakan ensembles. For the Tausug and Samal, the largest of the agungs with a wide turned-in rim is called the tunggalan or tamak , which provides slow, regular beats, similar to the Maguindanaon pangandungan and Maranao p’nanggisa-an. The smaller pair of agungs, the duahan, syncopate with the tunggalan/tamak. These are further classified: the wider-rimmed duahan is called the pulakan and the narrower one is called the huhugan or buahan by the Tausug and bua by the Samal.
In agung ensembles
Mangyan
Mangyan is the generic name for the eight indigenous groups found in the Philippine island of Mindoro, each with its own tribal name, language, and customs...
, Palawan, Subanun, T’boli
Tboli
The Tboli are one of the indigenous peoples of South Cotabato in Southern Mindanao. From the body of ethnographic and linguistic literature on Mindanao they are variously known as Tboli, T'boli, Tböli, Tiboli, Tibole, Tagabili, Tagabeli, and Tagabulu. They term themselves Tboli or T'boli...
, Tagakaolu, Tagbanua
Tagbanua
The Tagbanua tribe, one of the oldest tribes in the Philippines, can be mainly found in the central and northern Palawan. Research has shown that the Tagbanua are possible descendants of the Tabon Man; thus, making them one of the original inhabitants of the Philippines...
and the Tiruray), regions in Kalimantan
Borneo
Borneo is the third largest island in the world and is located north of Java Island, Indonesia, at the geographic centre of Maritime Southeast Asia....
and Indonesia
Indonesia
Indonesia , officially the Republic of Indonesia , is a country in Southeast Asia and Oceania. Indonesia is an archipelago comprising approximately 13,000 islands. It has 33 provinces with over 238 million people, and is the world's fourth most populous country. Indonesia is a republic, with an...
(Iban
Iban people
The Ibans are a branch of the Dayak peoples of Borneo. In Malaysia, most Ibans are located in Sarawak, a small portion in Sabah and some in west Malaysia. They were formerly known during the colonial period by the British as Sea Dayaks. Ibans were renowned for practising headhunting and...
, Modang, Murut
Murut people
The Murut is the warrior tribe of indigenous ethnic groups inhabiting northern inland regions of Borneo. The Murut comprise several people groups that are scattered in parts of Borneo Island including Brunei, Kalimantan...
) and Sabah and Sarawak in Malaysia (Bidayuh
Bidayuh
Bidayuh is the collective name for several indigenous groups found in southern Sarawak, on the island of Borneo, that are broadly similar in language and culture . The name "Bidayuh" means 'inhabitants of land'...
, Iban
Iban people
The Ibans are a branch of the Dayak peoples of Borneo. In Malaysia, most Ibans are located in Sarawak, a small portion in Sabah and some in west Malaysia. They were formerly known during the colonial period by the British as Sea Dayaks. Ibans were renowned for practising headhunting and...
, Kadazan
Kadazan
The Kadazans are an ethnic group indigenous to the state of Sabah in Malaysia. They are found mainly on the west coast of Sabah, the surrounding locales, and various locations in the interior. Due to similarities in culture and language with the Dusun ethnic group, and also because of other...
-Dusan, Kajan, Kayan), places where agung orchestras take precedence over kulintang-like orchestras. The composition and tuning of these orchestras vary widely from one group to another. For instance, the Hanunoo of Mindoro have a small agung ensemble consisting of only two light gongs played by two musicians on the floor in a simple duple rhythm while the Manobo have an ensemble (called an ahong) consisting of 10 small agungs hung vertically on a triangular frame. It includes three musicians: one standing up, playing the melody, and the rest sitting. The ahong is divided by purpose, with the higher-pitched gongs (kaantuhan) carrying the melody, three to four lower-pitched gongs (gandingan) playing melodic ostinato
Ostinato
In music, an ostinato is a motif or phrase, which is persistently repeated in the same musical voice. An ostinato is always a succession of equal sounds, wherein each note always has the same weight or stress. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in...
figures, and the lowest-pitched gong (bandil) setting the tempo.
Both the Bagabo and the B’laan refer to their agung ensemble as a tagunggo, a set of eight metal gongs suspended on a harness, which is played by two, three, or more people. Seven of the smaller-sized gongs produce a running melody with the eighth, largest gong playing syncopation with the other gongs to produce a particular rhythm. The Manabo also have an agung ensemble similar to the tagunggo, called a tagungguan.
The Kadazan-Dusun, located on the western coast of Sabah
Sabah
Sabah is one of 13 member states of Malaysia. It is located on the northern portion of the island of Borneo. It is the second largest state in the country after Sarawak, which it borders on its southwest. It also shares a border with the province of East Kalimantan of Indonesia in the south...
, refer to their agung ensemble as a tawag or bandil, which consists of six to seven large gongs in shoreline groups and 7–8 large gongs for those in interior valleys. In southwestern Sarawak
Sarawak
Sarawak is one of two Malaysian states on the island of Borneo. Known as Bumi Kenyalang , Sarawak is situated on the north-west of the island. It is the largest state in Malaysia followed by Sabah, the second largest state located to the North- East.The administrative capital is Kuching, which...
, Bidayuh
Bidayuh
Bidayuh is the collective name for several indigenous groups found in southern Sarawak, on the island of Borneo, that are broadly similar in language and culture . The name "Bidayuh" means 'inhabitants of land'...
agung ensembles consist of nine large gongs divided into four groups (taway, puum, bandil, and sanang), while among the Iban
Iban people
The Ibans are a branch of the Dayak peoples of Borneo. In Malaysia, most Ibans are located in Sarawak, a small portion in Sabah and some in west Malaysia. They were formerly known during the colonial period by the British as Sea Dayaks. Ibans were renowned for practising headhunting and...
of Sawarak, Brunei
Brunei
Brunei , officially the State of Brunei Darussalam or the Nation of Brunei, the Abode of Peace , is a sovereign state located on the north coast of the island of Borneo, in Southeast Asia...
, Kalimantan, agung ensembles are smaller in comparison.
Such ensembles can either perform alone or with one or two drums, played with the hands or wooden sticks, as accompaniment. They play either homophonically or in an interlocking fashion with the gongs. These agung orchestras often perform at many types of social events, including agriculture rituals, weddings, victory celebrations, curing rites, rituals for the dead, entertainment for visitors, and other community rituals.