After the Majapahit warriors subdued Bali in the 14th
century, Javanese mini-principalities and courts soon appeared everywhere,
creating that unique blend of court and peasant culture, which is Bali - highly
sophisticated, dynamic and lively. The accompanying narrative for dance and
drama is to a large extent based on court stories from pre-Majapahit Java. Even
the Indian epics, another favorite of the stage, especially the wayang, use
Javanese, complete with long quotes from the ancient Javanese Kakawin poetry So
Javanese culture, which disappeared from Java following Islamization in the
l6th century, still survived in Bali in a "Balinese form", which
became classical Balinese culture.
However, colonization brought about the fall of classical
Bali. With the rural courts defeated and with new lords of the land, the centre
of creativity shifted to village associations, and to the development of
tourism. The 30's and 50's were particularly fertile decades; while the old
narrative led theater survived, lively solo dances appeared everywhere,
accompanied by a new, dynamic kind of music called gong kebyar. This trend
continued in the 60's and 70's with the creation of colossal sendratari
ballets, representing ancient Indian and Javanese stories adapted to the needs
of modern audiences.
Dance & Religion
Balinese dance is inseparable from religion. A small
offering of food and flowers must precede even dances for tourists. Before
performing, many dancers pray at their family shrines, appealing for holy
"taksu" (inspiration) from the gods.
In this rural tradition, the people say that peace and
harmony depend on protection by the gods and ancestors. Dance in this context
may fulfill a number of specific functions:
- As a channel for visiting gods or demonic gods, the dancers acting as a sort of living repository. These trance dances include the Sang Hyang Dedari, with little girls in trance, and the Sang Hyang Jaran, a fire dance;
- As a welcome for visiting gods, such as the pendet, rejang and sutri dances;
- As entertainment for visiting gods, such as the topeng and the wayang.
In some of these dances, the role of dancing is so important
that it is actually the key to any meaning to be found in the ritual. In wayang
performances, the puppeteer is often seen as the "priest" sanctifying
the holy water.
As well as their use in religious ceremonies, dance and
drama also have a strong religious content. It is often said that drama is the
preferred medium through which the Balinese cultural tradition is transmitted.
The episodes performed are usually related to the rites taking place; during a
wedding one performs a wedding story; at a death ritual there is a visit to
"hell" by the heroes. Clowns (penasar) comment in Balinese, peppering
their jokes with religious and moral comments on stories whose narratives use
Kawi (Old-Javanese).
The typical posture in Balinese dance has the legs half
bent, the torso shifted to one side with the elbow heightened and then lowered
in a gesture that displays the suppleness of the hands and fingers. The torso
is shifted in symmetry with the arms. If the arms are to the right, the
shifting is to the left, and vice-versa.
Apart from their costumes, male and female roles can be
identified mostly by the accentuation of these movements. The women's legs are
bent and huddled together, the feet open, so as to reveal a sensual arching of
the back. The men's legs are arched and their shoulders pulled up, with more
marked gestures, giving the impression of power.
Dance movements follow on from each other in a continuum of
gestures with no break and no jumping (except for a few demonic or animal
characters).
Each basic posture (agem), such as the opening of the
curtain or the holding of the cloth, evolves into another agem through a
succession of secondary gestures or tandang. The progression from one series to
the other, and the change from right to left and vice-versa, is marked by a
short jerky emphasis called the angsel. The expression is completed by mimicry
of the face: the tangkep. Even the eyes dance, as can be seen in the baris and
trunajaya dances.
The Dances of Bali :
Oleg Tambulilingan or bumblebees Dance.
The Balinese like a blend of seriousness and slapstick and
their dances show this. Basically the dances are simply straight forward
ripping yarns – like vaudeville shows where you cheer on the goodies and cringe
back from the stage when the baddies appear. Some dances have a comic element
with clowns who counter balance the staid, noble characters. The clowns often
have to put across the story to the audience, since the noble characters may
use the classical Javanese kawi language while the clowns (usually servants of
the noble characters) converse in everyday Balinese.
It is not hard to find dances – they’re taking place all the
time, all over the island and are usually open to anyone. Dances are regular
part of almost every temple festival and Bali has no shortage of these. There
are also dances virtually every night at all the tourist centers; admission is
usually costs from 50.000 to 80.000 rupiah for foreigners. Many of the shows
put on for tourists offer a smorgasbord of Balinese dances with a little Topeng
dance, a taste of Legong dance and some Baris dance to round it off. If you see
one disappointing performance of a particular dance then look around for
another venue as the quality and the level of drama varies. Some of the more
common dances are:
Kecak Dance
"Cak-cak-cak." The obsessive sound of a choir from
beyond the dust of ages suddenly rises between the lofty trees. Darkness looms
over the stage.
Hundreds of bare-breasted men sit in a circle around the
flickering light of an oil lamp chandelier. "Cak-Cak". They start
dancing to the rhythmic sound of their own voices, their hands raised to the
sky and bodies shaking in unison. This is the unique Kecak, perhaps the most
popular of all Balinese dances.
Visitors rarely leave the island of Bali without first
seeing a Kecak performance. Originally the Kecak was just an element of the
older Sang Hyang trance dance. It consisted of a male choir praying obsessively
to the souls of their ancestors. At the initiative of painter Walter Spies,
this religious choir was transformed into a dance by providing it with a
narrative. The ballet is the Ramayana epic. The prince Rama, his wife Sita and
his brother Laksmana are exiled in the middle of the forest. Rama goes hunting
a golden deer at the request of his wife, who saw the strange animal and has
asked him to catch it. While he is away, she is kidnapped by Rahwana and taken
to the latter's island kingdom of Alengka (Srilangka).
Rama allies himself with the monkeys and in particular with
the white monkey Hanuman. They build a bridge and cross to the island. War
ensues until finally Rama defeats Rahwana and is again united with his faithful
wife.
Barong and Kris Dance
Barong and Kris dance like the kecak dance the Barong and
Kris dance is a battle between good and evil spirit. Barong can take various
forms but in this dance he takes the form of the dance Barong Keket, the most
holy of the Barongs. The Barong Keket is a strange creature, half shaggy dog,
half lion and is played by two men in much the same way as a circus
clown-horse. His opponent is the witch Rangda.
The barong personifies good and protects the village from
the witch Rangda, but he’s also mischievous and fun loving creature. He
flounces into the temple courtyard, snaps his jaws at the gamelan, dances
around and enjoys the acclaim of his supporters-a group of men with krises. The
Rangda makes her appearance, her long tongue lolling, her pendulous breasts
wobbling, human entrails draped around her neck, fangs protruding from her
mouth and saber-like fingernails clawing the air.
Now Barong dance is no longer the clown, but the protector.
The two duel with their magical powers and the Barong’s supporters draw their
krises and rush in to attack the witch. Randa puts them in a trance and the men
try to stab themselves, but the Barong also has great magical power and casts a
spell which stops the krises from harming the men. This the most dramatic part
of the dance – as the gamelan rings crazily the men rush back and forth, waving
their krises around, all but foaming at the mouth. Sometimes even rolling on
the ground in a desperate attempt to stab themselves. Finally Rangda retires
defeated and good has won again. Good must always triumph over evil on Bali,
and no matter how many times the spectator have seen the performance nor how
well they know the outcome, the battle itself remains all important.
The end of the dance still leaves a large group of entranced
Barong supporters to be brought back to the real world. This is usually done by
sprinkling them with holy water, sanctified by dipping the Barong’s beard in
it. Performing the Barong and Randa dance – with all that powerful magic – is
an operation not to be taken lightly. Extensive ceremonies must be gone through
to begin with, a temple priest must be on hand to end the dancers’ trance, and
at the end a chicken has to be sacrificed to propitiate the evil spirits.
Legong Dance
Legong this is the most graceful of Balinese dances and to
sophisticated Balinese connoisseurs of dancing the one of most interest. A
Legong Dance, as a Legong Dancer is always know, is a young girl – often as
young as eight or nine years olds and older than her early teens. Such importance
is attached to the dance that even in old age a classic dancer will be
remembered as a ‘great Legong’ even though her brief period of fame may have
been 50 years ago.
There are various forms of Legong but the Legong Kraton, or
Legong of the palace, is the one most usually performed. Peliatan’s famous
dance troupe, which visitor to Ubud often gets a chance to see, is particularly
noted for its Legong. A performance involves just three dancers – the two
Legongs and their ‘attendant’ knows as the condong. The Legongs are identically
dressed in tightly bound gold brocade, so tightly are they encased that it’s
something of a mystery how they manage to move with such agility and speed.
Their faces are elaborately made up, their eyebrows plucked and repainted and
their hair decorated with frangipanis.
It’s a very stylized and symbolic dance – if you didn’t know
the story it would be impossible to tell what was going on. The dance relates
how a king takes a maiden, Rangkesari, captive. When Rangkesari’s brother comes
to release her he begs the king to let her free rather than go to war. The king
refuses and on his way to the battle meets a bird bringing ill omens. He
ignores the bird and continues on to meet Rangkesari’s brother who kills him.
The dance however, only related the lead-up to the battle and ends with the
bird’s appearance. When the king leaves the stage he is going to the battle
that will end in his death.
The dance starts with the condong dancing an introduction.
The condong departs as the Legong come on. The Legongs dance solo, in close
identical formation, and even in mirror image when they dance a nose to nose
love scene. They relate the king’s sad departure from his queen, Rangkesari’s
request that he release her and the king’s depature for the battle. Finally the
condong reappears with tiny golden wings as the bird of ill fortune and dance
comes to an end.
Baris Dance
Baris the warrior dances know as the Baris is a male
equivalent of the Legong in which feminist and grace gives way to the energetic,
warlike, martial spirit. A solo dance, the Baris dancer has to convey the
thoughts and emotions of a warrior preparing for action and them meeting an
enemy in battle. The dancer has to show his changing moods not only thought his
dancing, but also through facial expression. Chivalry, pride, anger, prowess
and finally some regret (well war is hell, even in Bali ) all have to be there.
It’s said that the Baris is one of the most complex of the Balinese dances
requiring a dancer of great energy, skill and ability. Familiar tale in Bali
but the dance has been a relatively recent addition to the Balinese repertoire.
It tells much the same story of Rama and Sita as told in the Kecak Dance but
without the monkey ensemble and with a normal gamelan orchestra accompaniment.
It’s also embellished with many improvisations and comic additions. Rawana may
be played as a classic bad guy, the monkey god Hanuman can be a comic clown,
and camera-wielding tourists amongst the spectators may come in for some
imitative ribbing.
Kebyar Dance
Kebyar this is a male solo dance like the Baris Dance, but
with greater emphasis on the performer’s individual abilities. Development of
the modern kebyar is credited in large part to the famous pre war dance Mario.
There are various forms of the dance including the seated Kebyar Duduk where
the ‘dance’ is done from the seated position and movements of the hands, arms
and torso plus, of course, facial expressions are all important. In the Kebyar
Trompong the dancer actually joins the gamelan and plays an instrument called
the trompong while still dancing.
Janger Dance
Janger Both Covarrubias and Hickman in their
between-the-wars books on Bali comment on this strange new, almost un-Balinese,
dance which suddenly popped up in the 1920s and 1930s. Today it has become part
of standard repertoire and no longer looks so unusual. It has similarities to
several other dances including the Sanghyang where the relaxed chanting of the
women is contrasted with the violent cak-a-cak-a-cak of the men. In the Janger
dance, formations of 12 girls and 12 young men do a sitting dance where the
gentle swaying and chanting of the girls is contrasted with the violently
choreographed movements and loud shouts of the men.
Topeng Dance
Topeng the word Topeng means ‘pressed against the face’, as
with a mask. This is a mask dance where the dancers have to imitate the
character their mask indicates they are playing. The Topeng Tua, for example,
is a classic solo dance where the mask is that of an old man and requires the
performer to dance like a creaky old gentleman. In other dances there may be a
small troupe who dances various characters and types. A full collection of
Topeng masks may number 30 or 40.
Another mask dance is the Jauk dance, but this is strictly a
solo performance. The dancer plays an evil demon, his mask an eerie face with
bulging eyes and fixed smile, long wavering fingernails complete the demonic
look. Mask dances require great expertise because the dancer is not able to
convey the character’s thoughts and meanings though his facial expressions, so
the character of the unpleasant, frenetic, fast-moving demon has to be conveyed
entirely through the dance.
Pendet Dance
Pendet this is an everyday dance of the temples, a small
procedure gone through before making temple offerings which doesn’t require
arduous training and practice. You may often see the Pendet dance being danced
by women bringing offerings to a temple for festival, but it is also sometimes
danced as an introduction and a closing for other dance performances.
Sanghyang Dances
Sanghyang Dances the Sanghyang trance dancea originally
developed as a means of driving out evil spirits from a village. The Sanghyang
is a divine spirit which temporarily inhabits an entranced dancer.
The Sanghyang Dedari is performed by two young girls who
dance a dream-like version of the Legong. The dancers are said to be untrained
in the intricate pattern of the dance and, furthermore, the dance in perfect
harmony but with their eyes firmly shut. A female choir and a male Kecak choir
provide a background chant but when the chant stops the dancers’ slump to the
ground in a faint. Two women bring them round and at the finish a priest blesses
them with holy water and brings them out of the trance. The modern Kecak dance
developed from the Sanghyan.
In the Sanghyang Jaran a boy in a trance dances round and
through a fire of coconut husks riding a coconut-palm hobby horse-it’s labeled
the fire dance’ for the benefit of tourist. Once again the priest must be on
hand to break the trance at the close of the dance.
The Gamelan
As in Sumatra and Java, Balinese music is based around the
gamelan orchestra. The whole gamelan orchestra is known as a gong – an old
fashioned gong gede or a more modern gong kebyar. There are even more ancient
forms of gamelan such as the gong selunding, still occasionally played in Bali
Aga village like Tenganan.
Though the instruments used are much the same, Balinese
gamelan is very different from the form you’ll hear in Java. The Yogyakarta
style, for example, is the most reserved, fomal and probably the gentlest and
most ‘refined’ of gamelan – while Balinese gamelan often sounds like everyone
going for it full pelt. Perhaps a more telling point is that Javanese gamelan
music is rarely heard except at special performance, Where as in Bali you seem
to hear gamelans playing all the time everywhere you go.
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