In Balinese drama performance social and political critics have been an indispensable part of a performance. Social and political critic can be found in all kind of traditional drama performance, from Wayang Kulit (shadow puppet) to Drama Gong, from Arja (Balinese traditional opera) to Masked dance performance.

The inclusion of social and political critic in traditional drama performance is not a new invention. Since the first time shadow puppet was performed in the island of Bali in the 896 AD, during the reign of King Ugrasena, it has already incorporated some social and political critics in it. The critics usually come up in the conversation between the clown, between the clown and price, between spirit and god, between clown and demon, and between king and god.

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In 1825, I Dewa Agung Gede Kusamba of Klungkung, the highest in the rank of Balinese princes, died at the end of a fifty-year reign. His cremation ceremony was said to be one of the most magnificent in Balinese history. Lower ranked monarchs from all other Balinese kingdoms attended the ceremonies and contributed generously to the rites. Although the King had quarreled incessantly with his nominally subordinate neighbors, the King of Badung and Gianyar, they nevertheless dispatched court Gambuh dancers and musicians to participate in the ceremony. The combined group created a special new performance for the cremation.

Gambuh performance on The 28th Annual Bali Arts Festival 2006

The innovation was called Dadap after the two dadap trees, traditionally associated with funeral rites on the island, which were planted at the opposite ends of the stage. The all- male company of dancers surprised and delighted the public by singing the dialogue of the play, as in Western opera. Dadap was a great success and thereafter performing groups were established in most of the court centres.

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