Bali with Its Own Dance and Music
The Indian pilgrims of 1,000 decades ago expressed great significance about finding a island so full of brilliant ritual and celebration. This was their amazement they handed Bali island with the title WALI, a Sanskrit through the ages, and evidence indicates it has been understood of a “resort” for both the mortal and the immortal. The word WALI remains in Balinese today as the term for those plays or dances deemed holy enough to be offered to the Gods. No big cremation, temple festival, wedding, or sacred rite is complete with no Topeng Mask Play, Wayang Kulit Shadow puppets or some “Parwa” Opera performance.
With temple festivals and religious rites occurring someplace on the island virtually every single day, The Balinese don’t have any shortage of arenas for expressing their numerous talents. A large temple festival looks like a 3-ring circus for the arts. In one corner, on a raised pavilion, the priests will probably be sitting on a little tray taking turns reciting and translating the verses out of the ancient palm-leaf novels. In a different pavilion a gamelan orchestra will be playing with full splendor to welcome devotees and also to accompany a variety of rituals. A little choir is going to probably be crouched below and around the High priest’s platform, singing hymns to match the priest’s holy incantations.
The ceiling of the pavilions is likely to be painted using the stories in the Hindu epics, column, shrines, and walls are all carved in complex patterns; anyplace figurines declare to shrines or gateways they shield. In the front of the temple a legong a playful Mask Drama is actually advance. Everywhere are wrapped tall banners and painted clothing, the inner courtyard is ablaze with rows of two-meter-high woven palm-leaf plagues and pilled fruit offerings. The celebration of art and the celebration of life is just one.
Just like all the religion, the arts are coloured with all the many cultures which have impressed the Balinese. The costumes and expressions of several dances suggest southern India. The Barong, the carved dragons, and indicate gold-leaf timber carvings show the impact of Chinese. A number of those olden-day kings of oriental Bali were so impressed with all the gothic designs and imperial specifics of European structures, that to the day their palaces are known at joking as Puri Paris along with Puri Amsterdam.
Traditionally, the theatre space as such doesn’t exist in Bali. Everywhere is a potential theatre. If the village hall is too little to get a Mask Play company, then a space is going to be cleared in a nearby field, the frame of the stage, built, a curtain background hung, mats laid for the orchestra and the series is ready to go. If one could remain long in Bali, then the extensive array of dances, mythological effigies, puppets and plays with will finally occur within earshot, however to get a visitor it’s frequently tough to stay still.
According to Hindu belief the universe was made from the chord AUM, the sound of the Hindu trinity Brahma, Wisnu, Siva. Hindu societies are famous for their celebration of religion through dance and music. Bali is no exception. There’s music to follow extended processions to the sea, songs to lure down the gods from their heavenly peaks, special melodies to induce a trance, musical comedies for the masses and night operas for its elite. You will find frog dances, monkey dances, bumble-bee dances, epic ballets, war dances, dance to pick a mate and dances to exorcise evil spirits. And for each occasion customs. Venue as well as the tool vice as much for the interest of the audience as does the material of their performances themselves.
When there’s an image that Bali is famous it’s that of the beautiful princess with towering crown of golden leaf and frangipani flowers, her sweaty body wound in exotic clothing of gold and silver. Painted fans putting rubber bearings as she awakens to the enchanting sound of gamelan gong orchestra. More astonishing than the magnificent splendor of the dancers is the abundance of music and dance forms of the little island. You will find 60-piece bronze percussion orchestra, little “angklung” bamboo gamelan ensembles, miniature xylophone quintets that are carried on s multi-storied pier in funeral processions, orchestras made up entirely of flutes or mouth harped and choral symphonies composed of just chants and grunts.
Traditionally, all of the music is free and public performed in open spaces for the pleasure of all. Each village, palace, and lots of temples have their own gamelan orchestra which are committed to numerous local festivals but are usually invited to perform in larger parties which occur on a regional or island wide level. Virtually every village and lots of independent families own collections of holy “props” for which they are renowned, a pair of sprays, legong, head-dressed, Wayang shadow puppets or a single among the monster “animal” effigies called “Barong”. These are saved village or house temples awaiting the occasion when they’ll come to life and perform in the village square or move seeing far-fetched temples re-enacting ritualistic migrations in yesteryear.
Dancers, musicians and puppeteers are trained from a young age and like most of the arts in Bali talent is passed from father to son. Often one hears out of a famous artist he could dance before he can walk. One or two nights a week the “Banjar” community hallways will be the scene of gamelan clinic. Here the youthful learn by imitation and also the exact youthful sleep among the bashing of gongs, drums and cymbals. The orchestra remains in the pavilion for anyone who so desires to clinic. Dancing is educated in family courtyards where educators induce their protege’s limbs into the various postures of their dance. Dancers have their debuts at temple festivals. Stage fright is speed.
One wonders just how an island so small can encourage such a cast. The Balinese are nimble at assimilating attractive overseas components and then weaving them into their already rich, fabric or ritual. Over the centuries they have compiled a magnificent repertoire dance and music. The arrival of the fleeing Javanese court in the 16th century with their match of musicians and artists added to already highly developed art forms. If we look at the amount of recently recognized gamelan ensembles and revived dance companies mushrooming throughout the island because the coming of tourism the world of dance and drama can be regarded as experiencing a minor renaissance.