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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It is often said by the specialists of the arts that the arts in Bali are most often created as homage to the great creator, and characterized with the feeling of high devotion towards the arts itself. A work of traditional art is able to invoke vibrations of taksu, or to spring one’s interest, because the process of creation itself is supported by a will to dedicate a good work of art, free of the feelings of ego in regard to its copyright and value.

Works of art and culture in Bali first appeared as duties, which were carried out together by groups of professionals, as an offering of their devotion in its perfection, through carrying out various religious activities, towards God. Dance and music are created as expressions of the feeling of happiness in welcoming the presence of the Gods, when performing ceremonies at the temples. Works of fine art, in the form of paintings and carvings, are always present as part of the offerings, mediating spiritual communication, and the singing of the kidung, which functions as words of homage in return for the well-being brought by the Gods.

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