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.

(more…)

I walked into the compound of the griya (Brahmin household) in the midst of much activity. Their family gods were getting new shrines and every post and pavilion was wrapped in gold-painted cloth; the neighbors were there in droves making offerings, sorting through rice and busying themselves with the myriad tasks any large temple ceremony entails. And this is two weeks before the ceremony even begins.

This compound is where Ida Bagus Oka Wirjana, or Gus Aji Blangsinga as he is more affectionately known (named after his village of Blangsinga) lives with only a few of his l7 children (with Ida Ayu Putu Muter), 27 grandchildren and 4 great-grandchildren. An incredibly handsome and fit man of 73, Gus Aji is one of the living repositories of the famed Kebyar Duduk dance, which was created in the 1930s by I Ketut Mario and has become one of the standards seen in both sacred and secular venues.

(more…)