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Kemuda Saraswati Temple
Ubud Water Palace, Ubud Main Road, Ubud, Bali - Indonesia
Phone : +62 361 973 285 (Fabulous Ubud Tourism Information Centre)
Group : Cenik Wayah
Day : Thurday / Time: 07:30 pm / Venue : Ubud Water Palace
Procession with Beleganjur Gamelan
The Beleganjur Gamelan (spelled baleganjur or belaganjur) or marching gamelan is a common sight in Bali and is often seen accompanying ritual processions related to cremation or other ceremonial events. It is also occasionally performed as a seated gamelan for odalan (temple cleansing) ceremonies and other temple ceremonies. The music is typically hypnotic, a trance-inducing series of percussive loops, punctuated with crashing cymbals, often in highly complex staccato rhythms.
Beleganjur has its origins as a battle gamelan, played to inspire warriors going to battle, so as to induce the appropriate spiritual protection and to strike fear in the hearts of the enemy. The Beleganjur gamelan is most often accompanied by a procession.
Legong Trance Dance
Legong is a refined classical dance, characterized by intricate finger movements, complicated footwork, expressive gestures and facial expressions, probably originated in the 19th century as royal entertainment, usually staged in the palace courtyard by three young girl dancers.
Legend has it that the Prince of Sukawati took ill and had a vivid dream of two maidens dancing to gamelan music. When he recovered, he arranged for such dances to be performed in reality and since then the tradition has continued.
This is an improvised rendition of the classical version, replicating some portion of the age old Legong while adding modern nuances, wherein two young women are drawn into trance. Superbly choreographed by Ni Wayan Sriani, S.Sn & Cok Sri Agung and composed by I Wayan Budiasa, S.Sn.
The Legong dance-act is based on several traditional lore, the most popular being the 12th century tales of the heroic-romantic escapades of the King Lasem from the Malat. He is at war with another King, the father (or brother) of Princess Ranjasari. Lasem wants to marry Ranjaswari, however she does not reciprocate his feelings, detests his advances and tries to run away from him. In the process she gets lost in the forest and is then captured by Lasem, who imprisons her and goes out for a final assault against her family. However a monstrous raven, who foretells his subsequent death, attacks Lasem. The costumes are rich and extravagant while dramatics elaborate and enacted in pantomime style. A third dancer called a Tjondong or attendant accompanies the two main characters. It is the Tjondong who sets the scene, presents the dancers before the audience and later enacts the part of the raven.
The Legong is performed to music using distinctive long flutes. In its present form, the Legong incorporates elements of various performing art traditions: pre-Hindu ritual dances (especially Sang Hyang Dedari) and Hindu Javanese traditions (Gambuh) combined with the early 20th century Kebyar music style. Its dramatic material is drawn from Lasem, another version of the Panji stories. The word Legong itself, consists of 'leg' meaning an elastic or flexible dance, while 'gong' refers to the Gamelan. Legong thus implies a bound dance, especially in terms of its accentuation by the accompanying gamelan.
Kebyar meaning, "lightening” is often an interpretation of one of the epic poems Kekawin. Kebyar originated in North Bali in the 1920s, derived from certain movements of the delicate Legong, the heroic postures of the masculine Baris, and from one of the most ancient Balinese dance forms called Sanghyang. The present day Kebyar cannot be separated from its greatest practitioner, I Mario, who was responsible for taking the dance form to greater heights. A former Jauk dancer, Mario rearranged the Jauk and began performing the Kebyar in 1915.
I Ketut Mario played an old instrument called the Terompong in a virtuoso manner during the performance, while at the same time squatting in a duduk (sitting) position. The Kebyar Duduk dance is exclusively a solo male exhibition performance, wherein the dancer is seated cross-legged in the middle of the orchestra, undulating his very supple upper torso and hands in nimble movements along with the music. The Kebyar Duduk dancer is responsive to the orchestra, projecting every mood and nuance to the rhythm. Typically, the dancer dresses in a long brocade kain worn as a skirt around his waist, one end trailing on the stage, which the dancer picks up and flicks around with his hands during the dance.
The dance is set to a single musical composition and progresses through a sequence of moods of a typical Balinese youth who is just at the point of reaching full maturity. He expresses a gamut of emotions, ranging from sweet flirtatiousness to bashfulness, melancholy and then angry bravado. Many of the basic poses, gestures and longer phases of movement have been adapted from the Legong dance, but they have been made somewhat more intricate and elaborate.
The Baris, essentially a traditional war dance, glorifies the manhood of the triumphant Balinese warrior. Originally a pre-Hindu religious ritual, a dedication of the warriors and their weapons to invoke the blessings of the gods and ancestors during festivals and temple feasts. The Baris demonstrates at best the prowess and ferocity of a male dancer, as does the Legong feminine grace. The synchronization between the dancers and the Gamelan Gong (orchestra), precisely attuned to the warriors' changing stances, moods, and tactics, is spellbinding. The word Baris literally means ‘line’ or ‘file’ and refers to the warriors who fought for the Kings of Bali. There are numerous kinds of Baris, distinguished by the arms borne by the dancers.
From the original ritualistic Baris Gede arose the dramatic Baris, performed as a story, prefaced with a series of solo exhibition dances that exemplify a warrior's prowess in battle. It is from this that the present day solo Baris has evolved and is now frequently the first dance taught to young boys wherein they learn to portray the full range of emotions experienced before going into battle: courage, fear, excitement, doubt, pride and humility.
A good Baris dancer undergoes rigorous training to obtain the skill and flexibility that typifies the chivalrous elegance of the dance. The dancer may bear a keris, spear, bow, or other weapons, depending on the baris dance variant being performed. The powerful rhythm of the accompanying Gong Kebyar and Gong Gede intensifies the movements. The dance is usually performed by paired groups of 8 to 40 men wearing the traditional garb of a warrior with ornaments on the chest, the back and the head.
The dancer tentatively enters the stage between the two padjengs, (umbrellas), like an apparition crossing over from another dimension. At first, his movements are studied and careful, as if he were seeking out or sizing up his foe in an unfamiliar place. Gradually as he reaches centre stage, hesitation gives way to self-assurance and he rises to his full stature, torso motionless but limbs quivering. Then in a flash, he twirls on one leg, his feet pattering the ground noisily, in tandem with the tumult of the gamelan while his face portrays a the storm of passions of a quick-tempered warrior.
Tari Nelayan (Fisherman's Dance)
Tari Nelayan, depicting men fishing, a typical example of a contemporary kebyar style dance, is one of the few Balinese dances that focus on the sea. It depicts scenes of a group of fisherman, yet its deeper meaning celebrates community spirit and the earth's bounties. In Bali, the Hindu God Vishnu is the symbol of water and it is believed that the sea cleanses the earth. This particular piece was first written in the 1960s during a politically tumultuous time in Indonesia's history. Movements and steps reflect the life of a fisherman as he labors to earn his living by catching fish.
Cenik Wayah (Instrumental Music)
This composition, written for an experienced adult Gamelan orchestra, is performed by young and talented musicians.
This is a new and modern rendition of an old Javanese Panjii tale, its music composed by: I Wayan Sudirana, S.Sn. and choreographed by Ni Kadek Heny Diatmika, S.Sn. Panji tales spread from East Java and are a popular and a fertile source for literature and drama.
This is an intriguing love story, of Panji, the legendary Prince of Kuripan, East Java, Indonesia and beautiful Chandra Kirana, also known as Sekartaji, the Princess of Deha. Chandra Kirana is engaged to be married to Panji, when she mysteriously disappears on the eve of the wedding.
Barong Macan Dance
In the mythological traditions of Bali, Barong is portrayed as the King of the good spirits and enemy of the evil Rangda. Banas Pati Rajah, the spirit that animates the Barong, is believed to be the fourth "brother" or spirit child, which accompanies a child throughout life. A protector spirit, he is often represented as a lion, and traditional performances of his struggles against Rangda are a popular and esssential part of Balinese culture. The Barong is often portrayed with two monkeys. The Barong, embodying all that is positive and good, is portrayed during the dance with the help of two men.
There are several versions of the Barong - Barong Ket (the most popular barong), Barong Bangkal (boar), Barong Gajah (elephant), Barong Asu (dog), Barong Brutuk (made from dried banana leaves), Barong-Barongan and Barong Macan, (tiger).
The “Barong Macan” is looked upon as one of the magical protectors of Balinese villages. Hence the Barong Macan Dance is dedicated to the portrayal of the tiger as King of the Forest, with a fanged mask and long mane, the opponent of Rangda (an evil incarnation of Goddess Durga, God Siva's consort) who rules over the spirit of darkness, or evil in the never ending fight between good and bad. During the Galungan and Kuningan festivals the Barong Maccan is believed to wander through the streets of Bali, from door to door, cleansing the territory of evil influences. This barong’s appearance in the performance is similar to that of the Barong Ket, but with tiger’s strips and tiger face. Barong Macan is usually performed by two dancers accompanied by Gamelan Batel.Closing Instrumental Music.