Legong And Barong Dance


  • Date : 2019-04-01 to 2020-03-31
  • Time : 7 PM to 9 PM
  • Adult : $ 8.5 Per Person | Child : Below 7 Years Are Free!

Address :

Ubud Palace (Saren Agung)

Ubud Main Road, Ubud, Gianyar, Bali - Indonesia

Phone : +62 361 973 285 (Fabulous Ubud Tourism Information Centre)

Mon Tue Wed Thu Fri Sat Sun

Group : Sadha Budaya

Day : Friday / Time: 7:30pm / Venue : Ubud Main Road

Kebyar Ding Instrumental

This instrumental is a music piece expressing the dynamics of Balinese Gamelan Music. Ding is the first pitch of the Balinese scale. The first movement of a kebyar composition is still generally called kebyar, and involves much unison playing and statement of the composition's theme. This movement includes the first example of the rapid four-note ngucek style.

Kebyar, which means "the process of flowering", is one of the most popular genres of Balinese Gamelan music characterized by the synchronization of sudden and gradual transformations in the dynamics, tempo and melody.  The instruments offer a wide range of pitches and timbres, from a smooth, resonating gong at the low end to piercing shrieks at the high end, spanning five octaves. Kebyar also involves complementary melodic and rhythmic patterns interwoven together known as kotekan.

Legong Kraton Dance

This is classical dance, which is usually staged in the palace courtyard to entertain the king. Three girl dancers in colorful costumes perform it. Classical Legong enacts several traditional stories. The most common is the tale of the King of Lasem from the Malat, a collection of heroic romances. He is at war with another king, the father (or brother) of Princess Ranjasari. Lasem wants to marry the girl, but she detests him and tries to run away. Becoming lost in the forest, she is captured by Lasem, who imprisons her and goes out for a final assault against her family. He is attacked by a monstrous raven, which foretells his death.

The dramatics are enacted in elaborate and stylized pantomime. A third dancer called a tjondong or attendant accompanies the two little actresses. She sets the scene, presents the dancers with their fans and later plays the part of the raven.

Legong is a classical Balinese dance group that has so many and very complex motion tied with percussion accompaniment structures said to be the influence of gambuh. The word comes from the word Legong itself, consisting of “Leg” which means a elastic or flexible dance, and “Gong” which means or refers to the gamelan. Legong thus implies a bound dance (especially its accentuation) by the accompanying gamelan. The gamelan that is used to accompany the dance is called the Gamelan Semar Legong Pagulingan.

Legong probably originated in the 19th century as royal entertainment. Legend has it that a prince of Sukawati fell ill and had a vivid dream in which two maidens danced to gamelan music. When he recovered, he arranged for such dances to be performed in reality.

Bapang

This is an overture, before the dance troupe presents, the main performance of the Barong Dance. No different from a solo dance, a Barong monster can also dance solo, although in reality two men manipulate it, one for the head and the other one for the tail. Often another dancer enacting as a monkey accompanies the monster.

Telek Dance

Telek dance usually performed by four or more dancers wearing white masks of beauties or devils perform the battle between the virtue and the vice. A typical Balinese view of the world, Rua Bineda, which mean everything has two sides, that is, any world is knitted together with opposing two elements, is said to have been represented in this dance.

Derived from the epic legend of ancient India, Ramayana and Mahabrata, the story has been accomplished as the present one.

Out of many kinds of masked dances in Bali, Jauk and Telek can be categorized as the most singular one. These masked figures still exist in Bali today. Jauk is the male version of this genre where the dancers putting on the devil mask and its expression is more violent and far exaggerated then that in Baris (Warrior), while Telek is the female one.

In Jauk, the males wear special conical, pointed chandelier-like headdress in the shape of a Buddhist stupa. The masks are similar in form and bright red color. The style of carving and painting resembles the mask of Rawana in Wayang Wong. The face is fierce, with large eyes, shiny visible teeth, and moustache and beard. The dancers wear long artificial fingernails. In Telek, the corresponding female characters, the dancers refined masks are also uniform, they are white in colour with visible teeth, but the expression is pleasant and smiling. These masks are identical to the Sang Hyang Legong masks preserved in Ketewel. The female dancers also wear the identifying pagoda-shaped crown and carry fans.

Jauk and Telek are closely associated with Barong performance. Jauk usually serves as the attendant of the Barong while Telek serves the Rangda, the opposite of the Barong. In some areas in Bali, Jauk corresponds to Sandar while Telek to Omang. This can be performed as solo dance and is usually ten to twenty minutes long, accompanied by Gong orchestra; there is no story connected with the solo performance. At the present time the Jauk dancers are rarely seen in dance-drama, and the Telek dancers are hardly to be found at all. Two styles of solo dance for a male dancer clad as Jauk, however, are commonly included in concerts presenting a sampling of different kinds of Balinese dances.

Act. 1

In the middle of a dark-moon night, a group of girls dance a strange magic rite. They are Sisiya, the black-magic pupils who practice their spiritual teaching under the guidance of a widow witch name Rangda Dirah, or the widow-witch from Dirah.

Act. 2

Mpu Baradah, a white-magic guru - the spiritual teacher of the ruling king. He bears an order from the king to heal all victims of the widow's black magic power. After a along search, the guru finds the graveyard where the black spiritual group practice their teaching. The guru politely asks the widow to stop her evil ways, but she refuses. Instead she wants the old man to prove his magic powers. By means of her magic power she burns a banyan tree and ask the old man to extinguish it. He does it well, and he even puts the tree back as it was but when he burns the tree, the widow is unable to extinguish the fire. Knowing that she has lost, she transforms herself into a giant monster "Rangda".

Act. 3

Mpu Baradah, in order to defeat the evil power, also transforms himself. He becomes a "Barong", the good protector. In the fight against the evil Rangda a number of villagers support him. Rangda drops her white cloth containing her evil power on the villages – the villagers then feel evil the evil power entering their bodies. They fight this power but it pierces through their bodies.

Act. 4

Barong, the good protector, heals all of those who have been influenced by this evil power. The Sadha Budaya Troupe was founded in 1980 and consists of musicians and dancers from the village of Ubud. This troupe has assembled in Tokyo in 1986. In W. Germany, Switzerland, Finland in 1989.

The King of Ubud built the Ubud palace around the 16th century when Bali was ruled by Kings and Princes.