Wayang Lemah (Daylight Puppet)

Bali Personal Drivers - Wayang Lemah is one of the three kinds of sacred wayang in Bali. These wayang is Wayang Sapuh Leger, Wayang Suddhamala and Wayang Lemah. The third wayang has the same function namely : "ngruat" (baptism). Wayang Sapuh Leger has a special function for "marisuddha" -baptize a person who are born on "wuku wayang" (month on Balinese calendar), while Wayang Suddhamala and Wayang Lemah has a more general function which is to accompany the Panca Yadya ceremony.

As the name implies Wayang Lemah should be performed during the day parallel with the "Yadnya" (religious ceremonies) which its accompanied, because its main function is to accompany the Panca yadnya namely Manusa yadnya, Pitra yadnya, Dewa yadnya, Bhuta yadnya and Resi yadnya. But if the yadnya its accompanied be done at night, Wayang Lemah can also be performed at night (in conjunction with the course of yadnya). Wayang Lemah in some places also called Wayang Gedog.
Wayang Lemah staged without the use of kelir or screens and blencong light. To play its wayang, the Dalang propped its wayang on the three stacking "benang tukelan" (yarns), and each of which unbiased with "11 pis kepeng" (holy money). The yarns has a length of about half to one meter were tied to "dapdap" (a type of tree in Bali) wooden sticks anchored on gedebong on both sides of the Dalang.
Supporters of this show is the smallest, of 3 to 5 people consisting of a puppeteer and one or two pairs of gender wayang musicians. Wayang Lemah using accompanist gamelan, gender wayang were barreled slendro (five-tone). As a ceremonial art, Wayang Lemah usually take place around where the ceremony was held and did not use the stage that is specific in its performances.

Upakara or bebanten (offerings) which essential for staging Wayang Lemah, is suci asoroh sareng guling bebek, ajuman putih-kuning, canang gantal, lenga–wangi buratwangi, Daksina Gede sarwa papat, sarma 8100 kepeng, Segehan Gede, Pedupaan and tetabuhan arak berem. Ingredients for the holy water used is similar to used in Wayang Sapuh Leger. Prayed after staging Wayang Lemah completed, this holy water then sprinkled by yadnya leaders or by the Dalang himself to the what is consecrated. For example :
.:. When staging Wayang Lemah in a series of ceremonies Manusa yadnya, namely "telu-bulanan, then the holy water will be sprinkled to the baby consecrated.
.:. When staging Wayang Lemah in a series of ceremonies Dewa yadnya, "melaspas sanggah pemerajan, then the holy water will be sprinkled to the Pelinggih (shrine) consecrated.

The story that was delivered is generally derived from the Mahabharata epic adapted to the type and the degree of the ceremony are accompanied. For example :
.:. To accompany the ceremony Dewa yadnya, story is sourced from the story of Dewa Ruci or Maha Bharata (Parwa), namely Wana Parwa whose contents is containing the idioms that the gods are enforcement the truth and the justice.
.:. As for accompany the Manusa yadnya, Pitra yadnya, Bhuta yadnya, Resi yadnya, story is sourced from the story of Maha Bharata (Asta Dasa Parwa), Bhima Suarga and Dewa Ruci. Generally, Wayang Lemah have a short duration in its staging that is about 1 to 2 hours.

In some villages, Wayang Lemah show also called "ngiring pedanda" (follow the priest) that is : when the priest finished his mantra prayer echoes (mepuja) then the Wayang Lemah show also finished, even though the story is not completed. The structure of the Wayang Lemah show is sequentially, starting with Tabuh Petegak, Pemungkah, Gilak Kayonan, Rundah, Angkat-angkatan, Rebong, Bapang Delem, Pesiat and recently closed with Tabuh Gari.

Reference : babadbali.com, photoblog.janumedia.com
Photo : photoblog.janumedia.com

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Wayang Peteng (Night Puppet)

Bali Personal Drivers - Wayang Peteng is the wayang show which was staged for the general public as a "balihan-balih" (entertainment). As the name suggests Wayang Peteng or Night Puppet, is staged at night and its staging usually lasts between three to five hours. A Dalang of Wayang Peteng will sit and play its wayang from behind the screen is illuminated by palm oil lamps, while the audience watch every scene from the the front of the screen.
Wayang Peteng is shadow theater, because the audience can only see the shadow of the wayang (Dalang is not visible through the screen), but this does not detract the interesting aspect from the wayang show. In its staging, Wayang Peteng usually tell stories drawn from classical literature, especially the Mahabharata and Ramayana. In some scenes are also interspersed with some message about moral values, spiritual and social. Therefore, the wayang show is often used as a traditional educational media for the community. As entertainment, Wayang Peteng also mixed with jokes that make the audience laugh or songs that can be moved to tears.

The elements that are involved in a Wayang Peteng show are as follow :

1. Dalang (Puppeteer)

Dalang is the highest command in any wayang show. Dalang is a director, writer, musician leader, and the narrator of the wayang. Dalang manipulates all the wayang movements and also the voice of the wayang behind the scenes. The Wayang Peteng show which has a long duration usually have a complex plot line, complicated motion of wayang and full of improvised music.
Script in every wayang show is not scripted, but improvised based on the story of the Mahabharata and Ramayana epics, so Dalang must have a good knowledge about the story his being played. Dalang also must be able to master the Kawi language (ancient Javanese language), Basa Bali Alus (refined Balinese language) and Basa Bali Kasar (rough Balinese language). As well as no less important is the Dalang must be able to give a life to a variety of wayang characters he played. Dalang also demanded should have the ability to change their voice for each wayang character different, so the conversation between the one wayang characters with the other characters seem real.
In staging Wayang Peteng, if necessary, Dalang can use a pair of "katengkong/tututan" on the left and the right who sat as his assistant. To create visual effects, one of his assistants will be swinging the oil lamp.

2. Tabuh Iringan (accompaniment music)

Music has a very important role, so it needed a musician who has the ability and are fully responsible for the music in accordance with their expertise. With music, the audience will gets interested and effected their imagination. The good and proper music can help Dalang in giving color and emotion on his wayang in a scene and the audience will be carried away into the show. Harmonization between music with the motion of wayang will lift the atmosphere of the show.
The music used in a variety of wayang shows like : Gender Wayang, Bebatelan, Angklung, Semaradahana, Semar Pegulingan and so on. During the show, the musicians pay attention to the Dalang, as he gave the signal for a change in rhythm and melody in the orchestra. Like the dialogue in the script of the show, the music was not written. What kind of melody and how long the musicians had to play it, is determined by the signal which is given by the Dalang to the musicians.

3. Wayang (Puppet)

Wayang is the most important material in the wayang show. Wayang is generally made from cow skin was carved and painted with dye according to its own needs. These Wayang consists from the kayonan, pamurtian, god figures, king figures, duke leaders, priest leaders, Rangda, Barong, rarung, the giant, clown servants, animals, large and small trees, Bondres and so forth, with various shapes and characters. The wayang rod mostly using materials from the horns, as it is more comfortable in its current play.

4. Keropak

Keropak is a box to save wayang. Keropak has a long rectangular shape and has a variety of basins. Besides the basin add a beautiful impression on keropak, also the Dalang butt can attach appropriate on the edge of keropak. The top of keropak serves as a cover designed in such a way that easily to opened and closed. Keropak made of the jackfruit wood with a length of 110 cm, bottom width 74 cm, and 54 cm wide at the top, with a height measuring 32 cm. Keropak with measures such as the above can accommodate up to 150 wayangs from various figures and characters. Keropak placed on the left side of the Dalang.
Keropak also has another function, keropak can give accent to the show when he was paired with another element named "cepala". The right side of the keropak designed specifically for flexible and can be blasted. When the wayang show begins, keropak will be struck by the Dalang with cepala to give accent on the show. Loud or weak, and fast or slow the keropak beating will give rhythm to the wayang show, of course, be adjusted to the situation in the show.

5. Cepala

In "Pewayangan" Encyclopedia mentioned that cepala is a paddle that is used by the Dalang to give the motion accent, voice accent and ambience accent in a wayang show. For example in Wayang Calonarang show with title Kautus Rarung by Dalang Ida Bagus Sudiksa. In a conversation scene, between Prabu Erlangga with Patih Madri, almost every end of the sentence followed by a one-time sound of cepala (tak). While a change of dialogue, also accompanied by the sound cepala which is rather long (tak, tak, tak-tak). Cepala sound able to build ambience accent as required by the Dalang, though there is no movement of the wayang. Cepala sound that falls at the end of the sentence of a character will beautify dialogue and reinforce the intent of the dialogue itself.
Cepala usually has a deep black color and made from the core of wood Asem/ les Celagi (), with a length of approximately 15 cm. The top of its form a bit pointy and getting bigger downward. The bottom of Cepala is round and flat, and this is the part that used to hit keropak both inside and on the outside. The middle part of the cepala made with indentations, to be easily clamped by a finger or toe of the Dalang. In a wayang show uses two cepala, one clipped in the right toe and the other one is used with the left hand.

6. Gedebong (banana stem)

Gedebong in Wayang Kulit performances serve to place line up the wayangs who take positions on the kelir. At the time of wayang characters who played in the position of standing, looked down, and sitting, the wayang rod will be plugged in gedebong. Gedebong also serves to plug in the buffer wooden on the edge of the kelir (right and left) to the vertical position (jelujuh), so that the kelir becomes tight and not kinked.
In the book of Dharma Pewayangan mentioned that gedebong is a symbol of Earth or land, kelir is a symbol of the heavens or sky and blencong is a symbol of Teja (Triodasa Saksi), which includes Surya (sun), Candra (moon), Wintang Tranggana (star). The third was a part of the Panca Maha Buta (akasa, teja, bayu, apah, pertiwi).

7. Kelir (screen)

Kelir is white cloth stretched to hold a wayang, which later would appear a wayang shadow. In Dharma Pewayangan kelir is a symbol of the sky. Kelir also serves as a barrier between the Dalang and the audience. But in reality, a lot of the audiences who want to watch from behind the kelir, in order to see directly the Dalang.
On innovative wayang show, tend to use "gayor" as a place to tie the kelir strap. Gayor there made very luxurious in accordance with the needs of performances. The material taken from the best wood, carved by experienced carpenters, engraving is then polished with a red primer, then painted with gold paint, commonly called "prada", so it will give the impression of luxury.
Innovative wayang show screen sizes vary greatly, there are standards, those that are made very large. It is tailored to the needs of such performances by Dalang who will perform. This is certainly going to affect the assessment from the audience. The Standard screen of tradition kelir that is normal in size 2.50 x 1.25 meters.

8. Blencong (coconut oil lamp)

In the Javanese-Indonesian Dictionary, blencong is briefly described have utility as a lamp for illumination on wayang shows. In Balinese society, blencong often called "sanggokan" or "sembe", which is made of clay and then baked. Blencong usefulness is for lighting equipment when staging Wayang Peteng.
Blencong diameter generally less than about 30 cm, with 28 cm high, inside blencong there is wick made from yarn, with a length of about 25 cm, 4 cm on the outside, and the rest goes into the body of blencong. Fuel used is coconut oil with a capacity of less than three (3) liters. Who controls the flame blencong when staging is katengkong which is on the right, to make it more easily than the katengkong on the left. Blencong control purposes is to make its flame stable and does not lead to impaired performance.
Light plays a very important in a visual show. The intensity of light would affect the totality of a show that was held. The blencong light able to provide the magic accent in the wayang show, which can lead the audience's imagination as if their were in the times, where the scenes happen in the story. The lights generated by blencong lead wayang is in kelir as if they have breath, so the wayang seem alive even in times of "jejer wayang" (no motion). The shadow produced by lihgts blencong in reality is a reflection of the attitudes and morals in life. In Dharma Pewayangan mentioned, that blencong is a symbol of Surya.

9. Sound System

Sound system is also included in the element which holds a very important role in the wayang show. A good sound system will help Dalang, so that his voice is heard loud and clear by the audience. If the sound system is good and sufficient, then the Dalang could regulate noise suppression which is needed for wayang characters, between hard and soft without spending a lot of energy.
Sound system standard which is used in wayang shows consist of : amplifire size of 500 watts, microphone and 3 units loud speaker with its buffer. These standard sound system is sufficient to support the show, so the sound and the message to be conveyed by the Dalang to the audience can be heard clearly.

10. Upakara (offerings)

In each staging performing arts in Bali can not be separated from "upakara" or "bebantenan", which will be offered to God in its manifestation as the god of art, regardless of whether it is art as a wali, bebali or balih-balihan. Ritual offerings which are presented in a wayang show serves as a sign of gratitude to Ida Sang Hyang Widhi Wasa or the ancestral spirits being saved.
Upakara or offerings which is dedicated to Wayang Peteng show in its function as balih-balihan include :
.:. Banten Pengoleman, in the form of: pejati, sodaan, canang, tipat kelanan and segehan. The Banten Pangoleman was presented by the Dalang to ask permission to "Pregina Agung" (God) and pleaded "taksu" or the spiritual strength in order to succeed in his staging.
.:. Banten Pamungkah, devoted to the presence of Ida Sanghyang Widhi Wasa to invoke success on the show. After completion of presented, the banten were taken from the keropak, then keropak will beaten last three (3) times as if hinting to the spirit of wayang, so up for action.
.:. Banten Penyineb, the function is to close, as the end of the procession of wayang show. The Banten Penyineb is as an expression of gratitude to the presence of Ida Sang Hyang Widhi Wasa for all the grace and the success that has been delegated in the show.
Upakara which is presented by a Dalang would be more complex, if he staged wayang show as a function of wayang wali and wayang bebali.

Reference : babadbali.com, pdwi.org
Photo : flickr.com

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The Types of Balinese Carving Ornament

Bali Personal Drivers - Balinese are identical to the elements of art. One element of Balinese arts are well known is a Balinese carving. Balinese carving has a characteristic or distinctive feature in both the decorative motifs, the materials, and the techniques of its making. Balinese carving are mostly naturalists, in the form of leaf carving that convex and fat and other forms of mythology, such as the giant heads, elephants, and dragons. Balinese carving consists of several types :

• Keketusan

Take the most important part of a plant, that patternable repeatedly. In its processing is made in such a way for the embellish its assertion. Keketusan in traditional decoration has many types such as :

Keketusan Wangga	that describes the large flowers that bloom from broadleaf plant species.
Keketusan Bungan Tuwung	are ornaments that resemble the eggplant flowers.
Keketusan Bun-bunan	are ornaments that resemble the ivy.
Others	mas-masan, kakul-kakulan, batun timun, pae, ganggong etc.

• Pepatran

The basic idea pepatran is many drawn from the beauty of the flora forms. The beauty of the flora are taken such that, the path of leaves, flowers, pistil and twigs are made repeatedly. Each pepatra have a strong identities in appearance, making it easy to know, such as :

Patra Punggel	the basic idea taken from pieces of the vines, especially tip of its leaves that are still young. "Punggel" meaningful pieces.
Patra China	because of its name, the presence of these patra was believed by the Balinese as the influence of Chinese culture. Patra China is a replica of the hibiscus plant that in its processing both the stem, leaves and flowers are made with a line that reflects a constructive pattern.
Patra Samblung	the basic idea is taken from plants Samblung, the vines which have the wide leaves with curved harmonious. In traditional Balinese buildings Patra Samblung occupy areas which is long, because it has a repeating and elongated pattern.

• Kekarangan

An ornament that resembles the shape of a rock. This ornament is formed in such a way, tried to approach the forms of existing flora with emphasis on the parts of its beauty. Like other types of keketusan or pepatran, the kind of kekarangan commonly found in traditional Balinese ornaments, such as :

Karang Simbar	an ornament that resembles or approaching the plants. In its appearance, Karang Simbar combined with the decoration which resemble deer antlers and unravel leaves spreading down.
Karang Bunga	is a kind of ornament in the form of flowers with petals and a tuft of leaves.

In addition to the form of flora, the basic idea of the form of kekarangan also sourced from animals or a well-crafted beauty of fauna, such as :

Karang Guak	is a replica of the bird's head without the lower jaw and from his mouth come out a kind of pidpid and simbar plants.
Karang Gajah	also called the Karang Asti, is a replica of an elephant.
Karang Bentulu	is a combination of the bird's head which is one-eyed without nose and without a lower jaw.
Others	Karang Tapel, Karang Sae, Karang Boma etc.

In traditional Balinese residential architecture, kekarangan generally occupy the protrusions areas, especially in the corners. However, its placement taking into account with a logical considerations, such as : Karang Guak, because birds is associated with wings and always living above, then its position on the building is always at the top. Similarly with Karang Gajah, which is always placed at the bottom, because the elephant thought to have a very high strength so it will be able to support the building load.

Reference : Glebet, 1982. ”Arsitektur Tradisional Daerah Bali”

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Seni Karawitan (Musical Arts)

Bali Personal Drivers - Seni Karawitan (Musical Arts) is the art to cultivate the sound of objects, ie a traditional musical instrument. In Bali a traditional musical instrument is called a gamelan or gambelan. In gamelan instruments contained percussion, wind, stringed and the other.

According to his era, Gamelan Bali is divided into 3 major sections :

1	Gamelan Wayah (old)
2	Gamelan Madya (midst)
3	Gamelan Anyar (Newer)

Gamelan Wayah thought to have existed before the XV century. Generally dominated by the tools shaped blades and do not use "kendang" (drums). Even if there are kendang, it is certain that the role of these instrument is not so prominent. Some of Gamelan Wayah include :

1	Angklung
2	Balaganjur
3	Gender Wayang
4	Selonding and others.

• Gamelan Angklung

Gamelan Angklung is gamelan-barreled slendro, which was formed by a bladed instrument and "pencon" of "krawang", sometimes augmented with whisk angklung bamboo (which is small). Formed by the gamelan instruments are relatively small and lightweight (so easy to play while a procession).

Based on the context of use of the gamelan, and the types of percussion are sung Gamelan Angklung can be distinguished :

Angklung Klasik / Traditional	played to accompany the ceremony (without dancing)
Angklung Kebyar	played to accompany the dance and drama performances.

In Southern Bali's this gamelan, just use 4 tones while in Northern Bali using 5 tones. One barung gamelan angklung can play both, because often using gamelan instruments and musicians alike. Among the wider community Gamelan Angklung is known as a gamelan accompaniment Pitra Yadnya ceremonies Ngaben.

Gamelan Angklung instruments consist of :

Quantity	Unit	Instruments	Image
6-8	pair	which consists of a pair jegogan, jublag and rest pamade and kantilan
3-4	pencon	reyong, for the Angklung Kebyar using 12 pencon
2	piece	small kendang for Angklung Klasik, and big kendang for Angklung Kebyar
1	piece	tawa-tawa
1	piece	kempur except Angklung Kebyar use gong

The percussion titles which is commonly known among the angklung players such as : Capung Manjus, Pipis Samas, Guwak Maling Taluh etc. Whereas for Angklung Kebyar, the percussion that played is the same as that used in Gong Kebyar.

Reference : babadbali.com

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Kamasan Classical Style Painting

Bali Personal Drivers - Kamasan Classical Style paintings is originated from the golden age of ancient Balinese kingdom that has not been influenced by European or other outside influences.

The painting theme is usually derived from the tale of the life of The Gods, noble life and fables or "Tantri". There are rarely a Kamasan classical painting, which describes the life of the general public.

The colors are usually taken from the natural color, for example the white color taken from destroyed bone, for the black color taken from char, for the blue color taken from the "Taum" grass, the red color taken from the "Sunti" wood, while for the yellow color taken from Pecan oil , which is then mixed with an adhesive that sticks to the canvas.

Kamasan Classical Style paintings wearing only two dimensions, length and width. There is no perspective, so far-near invisible while the painted objects look like "wayang" (puppets), flat with no point of view (perspective) or depth.

Reference : commons.wikimedia.org
Photo : deviantart.com

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Kecak Dance

Bali Personal Drivers - Kecak Dance or also called "Cak" Dance or Fire Dance is the only one outdoor show with a charming sunset view. Kecak dance is a mass dance performance that staged for entertainment and features a combination among drama and dance.

Introduction

Kecak Dance is the most popular dance performances in Bali and is always full of spectators. As a dance for entertainment, Kecak Dance is not specifically used in hindu religious rituals such as cult, odalan or other ceremonies. However, Kecak Dance is not separated from the sacred elements. These forms of "sacred" in the Kecak Dance is usually showed for "kerauhan" or "masolah" that is unseen in immunity so it's not burned by the fire.
It is not known for certain where the Kecak Dance is derived, and where it was first developed. But there is a kind of agreement on the Balinese that Kecak Dance first time evolved into the art of performance, in the village of Bona, Gianyar. In addition Kecak Dance was originally a song or music resulting from the combination of sounds that make up a melody that is usually used to accompany the sacred Sanghyang Dance that can only be performed in the temple. Then in the early 1930s the artists from the village of Bona, trying to develop the Kecak Dance by inserting the part of the Ramayana story in lieu of the sacred Sanghyang Dance, so that could eventually be performed in public as a performance art. The part of the Ramayana story that taken first is where the Goddess Sita was kidnapped by the King Ravana.
Meanwhile, according to wikipedia, the history of Kecak Dance began around the 1930 's when I Wayan Limbak, the leader of a dance group originated from Bedulu village, in collaboration with the Germany painter, Walter Spies created the Kecak Dance based on the tradition of the sacred Sanghyang Dance and the parts of the story of Ramayana. I Wayan Limbak then popularized the dance whiles he touring the world with his Balinese groups dancers.
Next the Kecak Dance is increasingly evolving and undergoing changes. Modification of Kecak dance is mostly made, one of them by I Wayan Dibia, born in Singapadu, Bali. He created a modification of Kecak dance, such as Kecak Sugriwa and Subali (1976) and Kecak Dewa Ruci (1982).

Watch a Kecak Dance

Kecak Dance at Uluwatu is the most interesting to watch. The stage show was standing on solid rock with a height of 80 ft above the sea level of the vast Indian Ocean. Its design so beautiful with the Indian Ocean as a backdrop, and of course, with a very charming sunset view.

Kecak Dance is a typical Balinese dance performances. This dance is performed by dozens of male dancers in a sitting position and lined up neatly in a circle. The men raised their hands while shouting the word "cak ... cak ... cak ...". The men dancers who sit in a circle wearing a plaid cloth like a chessboard that binds their waist. Meanwhile, in the circle of other dancers who plays the characters of Ramayana as Rama, Shinta, Rahwana, Hanuman, and Sugriva was in action.

Kecak dance is played by about 50 to 70 men in a sitting position and line up neatly in a circle. Those dancers who sit in a circle wearing a checkered clothe likes a chessboard that binds their loins. Meanwhile, inside the circle, other dancers who play the characters of Ramayana as Rama, Shinta, Ravana, Hanuman and Sugriva in action. They play the Ramayana story that tells about the struggle of Rama who helped by the troops of monkeys, trying to rescue Shinta from the evil hand of Ravana.

The unique of this dance is not used entirely musical instruments. The music purely out of "cak ... cak ... cak ..." screams and sounds of "kincringan" was tied to the feet of the dancers cast figures Ramayana. The men raise their hands while shouting the word "cak ... cak ... cak ..." continually with a certain rhythm to produce complex sounds. A man will act as the leader who gave the initial tone, and the another man is in charge of delivering high or low notes pressure. There is also a man who acted as a chanter solo songs, and the other man will act as narrator who escorted the storyline.

Now, the Kecak Dance performances become a major attraction for tourists both foreign and domestic, and sometimes they are also involved in this dance. The largest number of dancers who had performed in the Kecak Dance recorded in 1979 which involves 500 dancers. At the time it was performed for the Kecak Dance by taking the story from Mahabharata. But this record has broken by the Tabanan Government, which organizes the Kecak Dance Colossal with 5000 dancers on 29 September 2006, at Tanah Lot, Tabanan, Bali.

Reference : commons.wikimedia.org
Photo : commons.wikimedia.org, flickr.com

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The Barong Dance

Bali Personal Drivers - "Barong Dance" and "Kecak Dance" are two types of traditional Balinese dances are very famous in the world. Barong Ket, or better known as Barong Dance and Kecak Dance has been recognized by almost the entire world as Bali trademark. And almost all agents or travel agency that organizes tour package in Bali, always recommending their clients to see Barong Dance and Kecak Dance.

Introduction

Barong Dance is a typical Balinese dance that originated from the treasures of Pre-Hindu culture. Barong is a mythological animal with four legs that have the supernatural powers and is considered as the protector. Allegedly said "Barong" comes from the word "Bahrwang" or be interpreted as a bear. But in reality Barong in Bali is not only embodied in animal with four legs but some are two-legged.
Regarding the emergence of Barong in Bali. Many experts ensure that the origin of the Barong is a Chinese lion dance that emerged during the Tang Dynasty (7-10 century) and spread to various states in East Asia.
Barong mask in Bali made of wood that taken from haunted places such as tombs, therefore Barong became a sacred object which is sanctified by the Hindu people of Bali. Judging from the iconography, the Barong masks that located in Bali is appears to look a blend of Bali Kuna culture with Hindu culture in particularly the patterned of Hindu Buddhist culture. The Barong mask basically there are also in Buddhists countries such as Japan and China.
Barong is considered as a manifestation of "Banaspati Raja" or the king of the jungle. The Balinese people regard a lion is the king of the jungle's that most terrible. The same concept is also found in India, China and in other parts of Indonesia. In Java, a figure likes Barong Ket in Bali called "Barong Singa" and "Reog Ponorogo". When examined in depth about its iconography, indeed the basic shape of the mask is the face of a lion. In India it is called "Shimamukha" depiction or "Khirtimukha". Here the lion was chosen as the figure of Barong because the lion has the ability to destroy the forces of evil.
In Bali Barong Ket is considered as a symbol of goodness. In the Barong Dance performances in Bali, Barong Ket figure used as a symbol of victory and "Rangda" is a symbol of evil which is always defeated. However, outside the context of the art performances, Balinese people believe that the two figures that have the same position as the protectors of the people.

Barong in Bali is owned by a village or "sekaa" (Balinese traditional groups). At certain moments, such as at Galungan and Kuningan, they often perform in the road or at home in his village or traveled to other villages. The performance is done professionally by collecting money from the people who watch their performances. Furthermore, they use the money for the welfare of their sekaa. This kind of show is called "ngelelawang".

Various kinds of Barong Dance :

• 1. Barong Bangkal
  "Bangkal" mean old pig with huge body. Barong Bangkal is usually called Barong Bangkung or Barong Celeng. Generally staged around the village (ngelelawang) by two dancers on certain days that are considered sacred or the time of the plague attacked the village without bringing a story and accompanied with Gamelan Batel / Tetamburan.


• 2. Barong Landung
  Barong Landung is a realization of Barong "susuhunan" (The Majesty), who have the human form reaches three feet tall. Barong Landung, is not the same with the Barong Ket that has been commercialized. Barong Landung more sacred and is believed to be his strength as a protector and giver of welfare of the people. Barong Landung often found around South Bali, such as Badung, Denpasar, Gianyar and Tabanan.


• 3. Barong Macan
  Barong Macan is resembles a tiger and the kind of Barong which is famous among the people of Bali. Staged by way around the village and sometimes comes with "Arja", a kind of traditional Balinese drama and accompanied with Gamelan Batel.


• 4. Barong Ket
  Barong Ket or Barong Keket costume generally describe a combination of a lion, tiger, and bull. Barong body is decorated with carvings made of leather, affixed to the sparkling mirror glass and fur made from perasok (fiber from a plant that similar to pandanus leaf), palm fiber or some of crow fur.

Watch a Barong Dance

Barong Ket is kind of Barong Dance that most widely available in Bali and most often staged as a tourist attraction. Similar to the Kecak Dance, Barong Dance is an art performing that combines the art of drama and the dance art.
There are several places which perform the Barong Dance, one famous place that every day performs Barong Dance is Batubulan village, in Gianyar. Moreover, there are also some other places such as Kesiman and Suwung which is included in the city of Denpasar.

As we mentioned above, the Barong costume generally describe a combination of a lion, tiger, and bull. Barong body is decorated with carvings made of leather, affixed to the sparkling mirror glass and fur made from perasok (fiber from a plant that similar to pandanus leaf), palm fiber or some of crow fur.
The Barong character played by two dancers (juru saluk/juru bapang). The first dancer took up positions at the front, playing a movement of the head and front legs of Barong and the second dancer took up positions at behind, playing a movement of the tail and hind legs of Barong.

Barong Dance depicts the fight between virtue (dharma) and evil (adharma). The manifestation of virtue is referenced by Barong character, while the manifestation of falsehood is referenced by Rangda characters. This is the two power that have always opposed otherwise known as "rwa bhineda" in Balinese culture.

Rangda is a scary figure with two pointy fangs in his mouth. Rangda is the Queen of the "leyaks" in Balinese mythology. This scary creatures, mentioned often kidnap and eat children and lead an evil witches army to fight Barong which is a symbol of the forces of good.

Besides Barong and Rangda the Barong dance performances are also equipped with other figures, such as Apes (friend of the Barong), Dewi Kunti, Sahadeva (son of Dewi Kunti), the Rangda followers and the Barong followers.

There is something unique from the Barong Dance was at the end of its performances there was a scene where the followers of Barong or so-called "sadeg patih" which were in "kerauhan" (possessed of the Holy Spirit) will thrust "keris" (a dagger) into their own bodies or called "ngurek". They will thrust a dagger into chest, stomach or their cheeks, yet you do not be afraid because they will not be hurt. They will "ngurek" until a "pemangku" splatter holy water on them so that they are aware of the kerauhan conditions. Even though Barong Dance staged as tourist attractions, but the sacred elements in the Barong Dance will never be lost.

Barong Dance is a dance which is full of stories and in this event also punctuated by jokes that provoke laughter from the audience. If you are travelling to Bali, Barong dance is one of those performances that you should watch.

Reference : commons.wikimedia.org
Photo : commons.wikimedia.org, flickr.com

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Pendet Dance

Bali Personal Drivers - Bali Island is one of the the famous tourist destination around the world for its natural beauty and culture. Almost every day there are a group of domestic and foreign tourists visiting this island.

To welcome the arrival of the guests, especially when there are events an international scale, is usually carried in procession welcoming guests with a featuring of traditional Balinese dances. One of the dances that frequently staged is Pendet Dance. Pendet dance is a kind of Balinese dance with female characters. In its staging, Pendet dance is performed by young girls in groups or pairs are numbered 4-5. Each Pendet dancer will bring "bokor" (bowl), which is decorated with leaf and flowers. At the end of the dance the Pendet dancers will be laying flowers into the audience as a welcome greeting.

Pendet dance is one of Bali and Indonesian identity. Pendet dance also is the most attractive Balinese dances to be learned because the movements are quite simple compared to another types of Balinese dance.
In some big cities in Indonesia, such as Jakarta, Surabaya, and Medan, Pendet dance so popular among enthusiasts of Balinese dance. In Jakarta for example, Pendet dance is used as the basic material by Balinese dance studios that were there. One of the Balinese dance studio under the auspices of Saraswati Balinese Cultural Institute which is headquartered in Taman Ismail Marzuki (TIM) Jakarta, since the 1970s has remained teaches about Pendet dance. Even these institutions also provide opportunities for Balinese dance enthusiasts to learn gamelan (percussion) which will be used to accompany various dances of Bali, including the percussion to accompany Pendet dance.

The Sacred Pendet dance

Professor of Indonesian Arts Institute (ISI) Denpasar, Wayan Dibia, asserts that danced the Pendet dance have since long become an integral part of the spiritual life of the Balinese Hindu community.
The Sacred Pendet dance describe welcoming or a joyful reception upon the coming of the gods from heaven to earth. Although Sacred Pendet dance belong to the "Tari wali" or ceremonial dances, but in contrast to other ceremonial dances, which is typically requires specialized and trained dancers. Anyone could danced this dance, either which already trained nor the who still layman. Basically in this dance young girls just follow the movements of senior female dancers in front of them, who understand the responsibility in providing a good example. Not require intensive training.
The Sacred Pendet dance usually performed in groups or in pairs by women, and more dynamic from Rejang Dance. Displayed after Rejang dance in the temple yard and generally facing toward the sacred (shrines). The Sacred Pendet dancers will dress up by wearing ceremonial dress and each one of them will bring the offerings amenities such as "sangku" (holy water vessel), pitcher, bowls, and others.

The Modern Pendet dance

Pendet dance initially a worship dance that many exhibited in the temple, which describes a joyful reception upon the coming of the gods from heaven to earth. Gradually, over the times the Balinese dance artists then modify the Pendet dance became a "Welcome dance", which is done while laying flowers in front of the guests who come, like Aloha in Hawaii. Nevertheless it does not mean the Pendet dance then lose its sacredness, because in each performance Pendet dance still have some elements of sacred-religious.
Pendet dance is a dance performed by a group of young girls of about 4-5 girls, each carrying a silver bowl filled with flowers. At the end of the dance the Pendet dancers will sow the flowers into the audience as a welcome greeting.
Pendet dance not only displayed when welcoming the prominent guests, in every Balinese dance performances, Pendet dance, is always used as the opening dance.

Read also The History of Pendet Dance.

Reference : commons.wikimedia.org, isi-dps.ac.id
Photo : commons.wikimedia.org

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