There are obvious indications that dance very
much attached to religion, have been an important function since
long time ago. Following the downfall of Balinese kingdoms, Balinese's
focus for dances shifted from the aristocratic surroundings to
the villages.
The sense of Indian culture gives a significant
influence in Balinese dances. Balinese dance set of clothes, with
their impressive jewelry, are obviously of Hindu-Javanese touch
and Balinese dancers also adopt the principal of Indian posture.
Balinese dancer is exciting with power, astonishing eyes and energetic
move.
The Balinese differentiate among dances that
are consecrated (wali), ritual (bebali) and simply for entertainment
(bali-balihan). Previously, Bali-balihan type of dances was developed
exclusively among the aristocratic family, but villagers now practice
them as a part of a ceremonial selection.
The Gamelan
In Bali, the gamelan (an essential element of Balinese music that
the whole 'orchestra' is almost entirely percussion) demonstrates
irresistible mixture. Various kinds of ensemble exist and distinguish
Balinese musical performances for their uniqueness and rhythmic
energy.
Other musicians conventionally taught gamelan
performer in their free time, without any orientation to written
scores. Balinese gamelan is normally possessed and uphold by village
music club.
The Barong and Rangda
Dance
The Barong dance is truly a triumphant display of bright colors
and graceful movements. Barong dance is an integral part of the
island's culture and has an evident sacred connotation. During
religious ceremony, barong dance is often performed.
Barong Dance is inspired by an episode taken
from an epic poem written in Sanskrit, Mahabharata. The dance
evolves around the character of the Barong, the king of the jungle.
A mythical animal, not clearly identified is the symbol of virtue
and good, subject to the continuous struggle against the evil
forces that threaten life and the integrity of the forest, this
being an element very dear to the Balinese population.
In detail, the Barong embodies everything that
can be beneficial to man, and help him defeat illness, black magic
and any other kind of misfortune. Rangda, queen of death and devourer
of children personifies the evil entity against which he must
relentlessly fight. A dark and gloomy mask from which a red tongue
of fire hangs characterizes Rangda.
Kecak
Kecak dance is also intensely entrenched in Balinese traditions
and Indian folklore and is enthused by Ramayana, a classic story
written in Sanskrit. The dance portrays the tale of King Rama,
his wife Dewi Sinta and his brother Laksmana who are banished
to the forest for 14 years following some multifaceted scheming
in a struggle for supremacy.
In the forest, Rahwana, the tyrant king persecutes
them and then abducts Dewi Sinta. Rahwana puts her in a prison
of his palace on the island of Lanka (Ceylon). Rama attacks Rahwana's
palace with the help of monkey people, whose army defeats the
tyrant's troops, making it possible for King Rama to set free
his wife.
In each Kecak performance, hundred dancers play
the monkey army while a few female dancers are assigned specific
roles. Kecak is performed by as many as a hundred singing mantra
and swaying men, dressed only in loincloths.
Kris Dance
Kris Dance is named after the famous Malese blade. The theme is
based on the idealistic thought rwa bhineda: good and bad, wickedness
and decency which have always been present and have always stayed
alive together although in a continuous and unavoidably unsettled
contradiction.
The dance portrays Rangda, the evil spirit, who
enters the bodies of her victims, usually followers of the Barong,
and pushes them to the edge of suicide.
The dancers attempt to stab themselves in the
chest with their krises until they are finally stop by the beneficial
appearance of the barong.
Legong Dance
Previously, two young girls should perform Legong. The Court Attendant
(condong) introduced and presented the dancers with fans. Covered
in a splendid gold set of clothes, with headdresses crowned by
flower, the two dancers then performed one of a dozen stories.
Today, more than two women may perform the dance, and they need
not be very young.
The Legong Keraton was at first a court dance
developed for royal enjoyment, but it is now seen normally at
village temple ceremonies throughout Bali.
Baris Dance
The Baris dance or warrior dances, conversely seem to have developed
out of old ceremonial battle dances.
A good baris performance is a true trial of intelligence
for the dancers and musicians, for they must respond to each other's
gestures to produce the trembling rupture of harmonized power
that are the spirit of the dance.
Ramayana Ballet
The performance also shows the story of Rama and Sinta,
but without the monkey ensemble and with a normal gamelan gong
accompaniment.
Kebyar
The legendary dancer and choreographer, I Nyoman Mario, introduce
Kebyar dance in the 1930s.
The dance is based upon a type of gamelan music
that appeared in northern Bali around 1915. A virtuoso soloist,
who uses the upper parts of his body to interpret the impulsive
moods of this glittering music, performs it.
Barong Landung
Barong Landung is the giant puppet dance, taking place annually
on the island of Pulau Serangan and a few other places in Southern
Bali.
Janger
The Janger is a relatively new dance, which suddenly popped up
in the 1920s and 1930s. Today it has become even more popular.
Topeng
Topeng or mask is a type of dance, which the dancers have to impersonate
the character represented by a mask. A full collection of masks
may number 30 or 40.
Jauk
It's also a mask dance but exactly a singly show.
Pendet
It's a dance of the temples, a process to go through before making
temple offerings.
Sanghyang (Fire Dance)
The Sanghyang dance was originally created to drive out evil spirits
from a village. Two young girls, who dance like account of the
Legong but their eyes closed, perform the Sanghyang Dedari. The
Sanghyang Jaran, a boy dances around and through the fire, traverses
a coconut palm hobbyhorse. In both dances, a priest is always
on hand to help bring the dancers out of their daze-state at the
end of the show.
