Here is an interesting article in relation with the social function of traditional of Balinese performing art. This interesting article is an excerpt that is taken from a paper entitled “Creating Modern Traditions in Balinese Performing Arts” by Ivana Askovic. Ivana Askovic is a Ph.D. candidate in Asian Theater and an acting instructor at the Department of Theater and Dance at the University of Hawaii at Manoa. Her research interests focus mainly on Indonesian performing arts. Without further ado here is excerpt.

Throughout its history Balinese theater has had two main social functions: one religious and one political. Even though the early twentieth century saw the introduction of an element of self-conscious art which was not “art-in-service” of something but rather an artistic expression of an individual, this tendency never became fully integrated in the Balinese artistic tradition. Rather, the performing arts are still considered to be (as they have been throughout history) a communal, collective obligation to create beauty in service to society and religion.

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Bali is a paradise for them, who want to enjoy traditional dances, since Bali has various traditional dances to be enjoyed. From sacred dances to social dances or from male dances to female all are available in this island. The most well-known male dance is Baris. There are several types of Baris, for instance solo Baris, Baris Gede, Chinese Baris, etc which come from various regions.

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Cristina Wistari Formaggia, 62, died peacefully of cancer in her hometown of Milano, Italy on 19 July 2008. She will always be known in Bali as the woman behind the Gambuh Preservation Project in Batuan village. Her dedication to the classical performing arts of Bali knew no bounds.

A memorial will be held for Cristina on Wednesday, 30 July 2008 from 3 – 6 p.m. at Cristina’s home behind the Ibah Hotel in Campuhan, Ubud. The Pura Desa Gambuh troupe will hold a short rehearsal in her honor. Please feel free to bring a flower or piece of fruit.

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Wayan Limbak, a late Balinese dancer which the popularity of his legacy has surpassed his own name, was a Baris (warrior dance) dancer who, along with Walter Spies, created the island’s famous monkey dance or Kecak. Kecak dance which is usually contracted into Cak is a contemporary Balinese dance, a secular dance that its origin can be traced to the sacred Sanghyang dance.

This dance was first created by Wayan Limbak in Bedulu village, Gianyar regency, at the request of Walter Spies. Wayan Limbak was commissioned to devise a new kind of dramatic performance which is based on Ramayana epic, accompanied solely by a chorus like that found in sacred Sanghyang Dedari performance.

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Tightly wound in golden costumes, quivering flowers atop tooled leather crowns, the dancers’ eyes dart from side to side, matching the energy in their hands as their fingers seem to shimmer in their joints. Balinese dance is perhaps one of the most well-known in the world.

Steeped in sacred religious rituals, dance is one way Balinese communicate with their gods and deified ancestral spirits. Dance (and theater and music) entertains both the mortal and divine audience. Both males and females dance and begin to study at a very young age. Towns are filled with dance studios (sanggar) where children go after school a few hours a week. Recitals and
performances at temple festivals are de rigeur , whether or not the piece is polished or not. The process of learning is almost as important as the finished dance and the entire community can get involved, from the teachers to the musicians to the vendors who feed the hungry students to the drivers who take them to the venue. Rituals are replete with children as young as 3 and 4 years old performing the sacred forms of Rejang Dewa and Baris Gede. The deities don’t mind that the feet are in the wrong position or if you look at your neighbor when you forget a step–it is dance as an act of devotion that is important here.

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