Gamelan has always existed in its instrumental form as well as in a supportive role when combined with dance, wayang kulit, wayang orang,  but there is no 'concert tradition' for gamelan music in Java. In the courts, gamelan accompanied wayang and dance when an audience would usually be present, but instrumental gamelan was used as background music for special occaisions, or as ceremonial music when the pieces performed were determined by the ceremony. Outside the courts as well, the idea of people sitting in a large group to listen quietly and attentively to the performance of gamelan is a strange notion.



Wayang Kulit

   The gamelan is closely associated with the wayang-kulit,   the shadow-puppet play. In the wayang,   the gamelan is in no sense mere musical accompaniment, but it is a completely integral part of the performance. In wayang kulit, intricately designed leather puppets are animated by puppeteers behind a backlit screen. They act out epic stories as the narrator, or dalang,  sings passages of poetry and narrative. The dalang's narration, for example, is structured in delivery and pitched to the gamelan. The puppets come to life with the subtle and varied drum patterns that make them move. Certain courts and characters in wayang kulit  have certain compositions specifically associated with them, and the performance of these pieces sets the scene and and names the character.

   The dance drama performance called wayang orang  is similar in its relationship to the gamelan, but it is performed by people rather than by puppets.; and the epic stories are played out through dance. The performances include combinations of narrative, poetry, song, and musical interludes. In sendratari,  a recently developed form of wayang orang,  all dialogue is omitted and the drama is played out entirely through dance movements.The audience watches the drama unfolding before them while the gamelan plays on.

Gamelans can also be heard at weddings, as very different atmosphere from the theatrical performances. Here, the audience may chat with others or move about as the gamelan plays in the background. There may be no audience if the gamelan plays during a ritual performance at a temple. The gamelan plays in a wide variety of settings.