(taken from Visitors’ Guide to Bali 6th edition 2002)
Dance and drama are import ant parts of Balinese
culture as they are considered as express ions of devotion to the gods and means of teaching the younger generation with old values. Most of today’s Balinese dances origin ate from Java; only a few are indigenous dances such as the rejang (women ‘s temple dance), baris (war dance) and pendet ( welcoming-gods dance). Historical records from the ninth century also mentioned the wayang (puppet theatre) and topeng (mask dance) as the main entertainment at that time.
culture as they are considered as express ions of devotion to the gods and means of teaching the younger generation with old values. Most of today’s Balinese dances origin ate from Java; only a few are indigenous dances such as the rejang (women ‘s temple dance), baris (war dance) and pendet ( welcoming-gods dance). Historical records from the ninth century also mentioned the wayang (puppet theatre) and topeng (mask dance) as the main entertainment at that time.
Javanese influences started infiltrating into Bali
in the 14h century when it was conquered by Gajah Mada, a powerful
prime-minister of the Majapahit Empire. Court nobles and courtiers began to
settle in Bali, bringing with them their dance and drama adopted by the local
population.
History Of The Balinese Dance
As a result of the Majapahit influences, the
Indian epics have been woven in the rich tapestry of dances and the Javanese
influence in the wavang has resulted in the recitation of long quotes from the ancient
Javanese Kakawin poetry.
The 16th century converted the Javanese to Moslem, resulting in much of the Javanese Hindu culture vanishing from its own land. However, it transformed in Bali, becoming classical Balinese culture, the rural courts were defeated and replaced with new lords of the land, shifting the center of creativity, to village associations and to the development of tourism. The Balinese cultural dance was in its excessive activities especially during the 193O’ and 1950’s.
The fertile decades helped survive the old narrative-led theatre while letting loose solo dances to develop almost everywhere, accompanied by a new, dynamic kind of music called gong kebyar.
This trend continued in the l960’s and l970’s with the creation of colossal sendratari ballets, rep resenting ancient Indian and Javanese stories adapted to the needs of modern audiences.
The 16th century converted the Javanese to Moslem, resulting in much of the Javanese Hindu culture vanishing from its own land. However, it transformed in Bali, becoming classical Balinese culture, the rural courts were defeated and replaced with new lords of the land, shifting the center of creativity, to village associations and to the development of tourism. The Balinese cultural dance was in its excessive activities especially during the 193O’ and 1950’s.
The fertile decades helped survive the old narrative-led theatre while letting loose solo dances to develop almost everywhere, accompanied by a new, dynamic kind of music called gong kebyar.
This trend continued in the l960’s and l970’s with the creation of colossal sendratari ballets, rep resenting ancient Indian and Javanese stories adapted to the needs of modern audiences.
Dance and Religion
Dances in Bali are both secular and religious, and
are divided into three types; namely, wali, bebali and balih-balihan, depending
on which part of the temple they are performed. Wali dances such as the bans
gede and sang hyang are the most sacred and are performed in the inner sanctum
of the temple. Ceremonial in nature, bebali dances take place in the middle
courtyard. Balih-balihan dances are secular and are usually performed in the
Outer courtyard of the temple. However, this distinction is not strictly
adhered to, and the time,
place and occasion may dictate the performance of a particular dance.
place and occasion may dictate the performance of a particular dance.
In Balinese
society, therefore, dance performs various functions:
a) as a channel for visiting gods or demonic gods, the dancers acting as a sort of living repostry. These trance dances include the Sang Hyang Dedari, with little virgin girls in trance, and the Sang Hyang Jaran, a fire dance, when the male dancer dances on glowing ember.
b) as a welcome for visiting gods, such as the pendet, rejang and sutri dances.
c) 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 often plays the role of a priest to sanctify 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. Penasar (clowns) comment in Balinese, peppering their jokes with religious and moral comments on stories whose narratives use Kawi (Old Javanese).
a) as a channel for visiting gods or demonic gods, the dancers acting as a sort of living repostry. These trance dances include the Sang Hyang Dedari, with little virgin girls in trance, and the Sang Hyang Jaran, a fire dance, when the male dancer dances on glowing ember.
b) as a welcome for visiting gods, such as the pendet, rejang and sutri dances.
c) 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 often plays the role of a priest to sanctify 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. Penasar (clowns) comment in Balinese, peppering their jokes with religious and moral comments on stories whose narratives use Kawi (Old Javanese).
Movement and
Dance
Balance is important in Balinese
dance. Normally, the dancer half-bends her legs shifts her torso to one side,
with the elbow raised and lower in fluid movement to display the suppleness of
her hands and fingers. Her 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 rise 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 bans and trunajaya dances.
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 rise 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 bans and trunajaya dances.
