What is the role of dance in ceremony? What are the different categories of Balinese dance? The most foundational stances? Having an understanding of some of these fundamental questions is a great first step to appreciating what is an unimaginably rich and varied art form

Ubiquitous across the island, proudly performed on stage for the tourist gaze or as a sacred duty in the inner sanctum of a temple, the magic of Balinese dance goes beyond just its visual spectacle

It is a medium of communication with the gods and ancestors, a preserved pastime that ties generations, and is an art form that keeps the island’s identity thriving

The Bodily Orchestra Maestro Ni Ketut Arini shows the importance of facial expression (tangkep) in dance

Photos by Edward Speirs

The brilliance of the Balinese dancer is in their ability to control so many components simultaneously, with fundamental stances, positions, movements and expressions that must be combined perfectly

All beginning dancers must master these fundamentals

The first is the agem, the static standing posture, a controlled pose from top-to-bottom: lifted toes, open stance with bent knees, an exaggerated curve of the torso and high, bent elbows

There are two agem, left and right, and these are different again for men and women

The next component is the tandang, the movements between poses, which can be fluid and smooth like that seen during a legong, or angsel, short, fast and jerky like in the baris

Finally, there is the tangkep, the facial expression, an often underestimated component of a dance, but these give life and personality to the role or character a dancer assumes – especially the sledet, iconic eye movements

There are of course more detailed elements to learn: the many hand shapes and finger movements, a wide variety of elbow and positions, and body, neck and head movements

With the basics under wraps, the dancer must then put all these ingredients together – to make sure their stance is right, with the appropriate finger movements, and the correct facial expression and eye movement to match

Their body is the orchestra, their mind the conductor

It is an incredible test of both mental and physical discipline; though for the very best dancers, these will flow naturally and effortlessly

Some advice I share with anyone lost in the context during a dance performance: pay attention to the individual elements – feet, posture, hands, eyes – and you’ll be able to appreciate the skill and effort of the dancer

A Performance for Every Occassion In the cornucopia of choreographies, the first differentiating factor of Balinese dance is how sacred it is

There are three overarching categories of dance: Balih-balihan dances, performed for art and entertainment, these often have a more social rather than religious role, even when performed at temple

Then there are the bebali ceremonial dances, serving as an intermediary, bridging the sacred and the profane

Then there are the sacred wali dances, where the performances themselves are acts of service or offerings to the gods and ancestors

This spectrum of sacredness mirrors the three separate zones that make up a Balinese temple compound, and indeed reflects where each of these types of dances are best suited

The innermost courtyard (jeroan) is where the wali dances are performed; the bebali are commonly performed in the middle courtyard (jaba tengah); whilst the balih-balihan dances are found in the jaba, or outermost courtyard, as well being performed at secular venues

Dancing for the Gods Photo 1: Sangyang Jaran in Desa Griana Kauh, Karangasem

Photo by Edward Speirs

Photo 2: Sangyang Dedari in Desa Griana Kauh, Karangasem

Photo by Edward Speirs

Photo 3: A Pendet Dance in Taro, Mecaru Ceremony at Mason Elephant park

Photo by Edward Speirs

A wide variety of wali and bebali dances will take place only at big ceremonies

In a league of their own are the sanghyang dances, often referred to as ‘trance dances’, which are highly ritualistic

“In the sanghyang dance, the male Cak choir performs worship songs and prayers, invoking the descent of ancestral spirits and divinities, known as bhatara-bhatari

This spiritual invocation is signified by the kerawuhan, or possession, of the dancers, leading them into an unconscious dance,” writes Professor I Made Bandem, one of Bali’s most respected authorities on traditional performing arts, both in practice and in academia

The sanghyang dedari (dance of the nymphs) and sanghyang jaran (horse dance) are the most well-known of the trance dances, performed in Bali’s more rural pockets and often as ceremonies in their own right, used as means of ‘exorcising’, purging or warding off negative influences in an area

The more regular wali dances often accompany temple festivals (odalan)

These include: the pendet, a welcoming dance performed by the women of the community; the rejang, an offertory dance performed by pre-adolescent girls; and the baris gede, or ‘soldiers dance’, a strong, sometimes spear-wielding, choreography performed by men

What is special about these wali dances is that they may differ from region-to-region, with costumes and headdresses given a local flair

As such, no two rejang dances are exactly the same

These big group dances are colourful, communal performances, made all the more spectacular through the ritual atmosphere of an on-going temple ceremony

As for the bebali ceremonial dances, Fred B

Eiseman, Jr

(Bali, Sekala and Niskala) writes: “Although the entertainment is intended for the gods and ancestral spirits who are being honoured at the ceremony, the events are equally entertaining to the Balinese.” Seen at ceremonies like tooth filings to weddings, the bebali dances are characterised as being story-driven, straddling the line between dance and theatre, regaling historical tales and folk stories

Popular examples include the Calonarang, a mystical dance-drama depicting the story of Rangda, the demon witch; within which the iconic Barong lion will feature too, together symbolising the play of good vs evil, light vs dark

Then there are the topeng masked dances, of which there are many

Of utmost ritual importance is the topeng sidakarya, a dance originating in the 16th century, following the story of an old priest (Brahmana Keling) who must ‘complete (sida) the task (karya)’, i.e

a ceremony

It is one part of the topeng pajegan routine, a demanding performance by a single male dancer who must assume the role (mannerisms, script, voices, and stances) of a prince, princess, king, prime minister, servant, old man and clown

Then there is the gambuh, the master of all dances, a theatrical performance that strings together the ‘Panji Tales’ from the ancient Balinese epic, Malat

It is hours long as a complete story and is considered to be the original source for many dances

From Sacred to the Stage How is it that a bebali ceremonial dance can be performed in a secular setting, brought to an amphitheatre for paying visitors, for example? Are these performances not sacred? Balinese dance is highly contextual

Often, especially in the case of the masked or puppet dances, the performances are not spiritually charged

For example, the masks used have not undergone the pasupati sacralising ceremony, and are thus mere props in a performance

Or perhaps the dance has been modified from its original, sacred form: “The legong dance, a staple for tourists, is a common jaba [outer courtyard] performance

When given at an odalan or other ceremony, legong is much longer and more complete than the brief excerpt that tourists see.” Explains Fred B

Eiseman Jr

In truth, a real Balinese dance in its proper ceremonial context is likely not for everyone

They can be hours long, performed in Balinese or even ancient Javanese (Kawi), lacking an obvious story or visual structure that we are used to

The sanghyang dedari, for example, can be an entire evening of watching as the young girls sway in a trance, with the village women chanting repeatedly in the background

Famously, the full Calonarang performance can also be hours long, but participants are advised not to leave until it comes to completion lest they experience and accident on the way home

As such, for everyday audiences, a modified version of a classical dance may be introduced

The most famous ‘reimagining’ is without a doubt the kecak, now one of the most recognised dances from Bali, with thanks to its immortalising, modern display upon the cliffs of Uluwatu

Professor I Made Bandem explains that the kecak was a new creation, inspired by the male ‘cak’ chanting found in the sanghyang dance

“During his initial visit to Ubud in 1925, the renowned artist and musician Walter Spies was captivated by a Sanghyang Dedari performance at Ubud Palace,” writes Bandem

“The adaptation of Cak to include the Ramayana narrative, a collaborative effort involving I Wayan Limbak, Katharine Mershon, and Walter Spies, is thought to have emerged between 1934-1935.” Such evolution is not uncommon in Balinese dance, and is in fact encouraged, as Professor Bandem writes: “These performances are crucial in keeping the art form alive and vibrant, ensuring that the essence of cak, with its deep cultural roots and artistic significance, continues to be appreciated and revived for future generations.” Are You Not Entertained? The balih-balihan secular performances are by no means less captivating or culturally relevant

They too are rooted in history, once being the highlight entertainment of royal courts

The classical arja is the perfect example: considered Bali’s ‘opera’, it brings dance, music, song and monologue into one epic performance, even weaving in ancient kidung singing, once again regaling old Panji tales

Or there is the kebyar terompong, which requires the performer to both dance and play the gamelan (specifically the terompong) simultaneously – a magnificent feat of skill and discipline

Indeed, this traditional entertainment produces some true maestros, able to deliver sensational performances whether in the temple or on the commercial stage

A dancer who has the skill to truly captivate an audience is said to have taksu

Taksu is said to be the spiritual force: it flows through someone to deliver their talent to elevated levels, be it an artist, a carver or a musician

A dancer’s taksu can be felt by the audience: an aura, a hypnotising gaze, the confidence in the stance, the fluidity of their timing and movement

Yes, they must be masters of their craft, but they must also learn to surrender themselves to the moment –– or in some cases to a spirit –– and let the dance take over their bodies

These are the truly magical performances

Balih-balihan dances can be highly social functions

They are used for folk storytelling, like the tari katak (frog dance), from a Balinese fairy tale; or to enlighten festivities, like the controversial joged bumbung, a somewhat salacious and provocative genre, with women dancers inviting men on stage to dance with them

But this secular category of dance provides space for innovation and creativity, allowing Balinese dance to find relevance in modern times

As long as they are rooted in the foundational dance elemnts, with appropriate musical accompaniment, new stories can be told, new choreographies created, elaborate costumes imagined

They bring new appeal for the next generation of dancers, and help audiences stay engaged

Just Keep Dancing Photo 1: A topeng masked dance at Puri Kerambitan, performed prior a tooth filing ceremony

Photo by Edward Speirs

Photo 2: Rejang dancers in Ubud showcasing the fabulous headdresses

Photo by Edward Speirs

A constant concern in Bali is whether cultural heritage will be passed down through the generations, and that includes classical Balinese dance

Since dance is an essential part of worship, be it the wali sacred dances or the bebali ceremonial dances, they will no doubt remain foundational parts of life on the island

Important social structures are in place to ensure this too, with banjar village communities hosting their seka teruna teruni (youth members) for compulsory dance or gamelan practice

For those looking to take their skills further, there are countless sanggar tari — sanggar being a term for an art group, tari meaning dance — across the island

Income from commercial dancing is certainly an incentive for some, be it in hotels and resorts, or part of the banjar’s own tourist performances

One maestro, Ibu Ni Ketut Arini, told NOW! Bali: “To keep young people motivated, they need places to perform

My students are always more excited to learn when they are given opportunities to go on stage.” Then there is ever-important Bali Arts Festival (Pesta Kesenian Bali), held every June to July, this is the olympics of Bali’s performing arts, where different banjar and sanggar will come to perform and even compete

There is overwhelming local interest and support interest

It has been crucial in keeping the art form thriving

For those looking to get a good dose of dance, the Bali Arts Festival is definitely a great place to start

But outside of that, finding a dance to watch depends on what you are looking for: Do you want to travel afar to see a ritual dance in their ceremonial context, long and drawn out, or prefer the shortened but easy-to-enjoy performances? Do you want to see the maestros of classical choreography, or the vibrant modern creations? A little bit of each serves to give an appreciation for this rich art form, as broad as it is deep

Hopefully with this context you can better appreciate the dances you’ll see around the island

Note: It should go without saying… for any ceremonial events please respect the cultural environment

Dress appropriately with Balinese sarong, sash, and a well-covered top; do not enter any areas restricted only for worship; do not disturb people praying or worshipping; do not be intrusive when taking photos; pay for entrance or donate something to the local temple.

🚀 Tips: Siapkan CV terbaikmu & daftar sebelum kuota habis!

🔗 Sumber: https://www.nowbali.co.id/a-beginners-guide-to-balinese-dance