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Tanah Lot Temple
Tanah Lot Temple is one of most popular sightseeing spot in Bali. Also, it is the famous sunset view spot in the world. In Tanah Lot, you could watch Kecak Dance every night.
Uluwatu Temple
Uluwatu temple is popular sightseeing spot as same as Tanahlot temple. At Uluwatu Temple, you can watch Kecak Dance every night while look the beautiful sunset on the back stage.
Kecak & Trance Dance. Kecak derived from Sanghyang of the ceremony dance (early public entertainments that had become prototypes of this Kecak Dance). Sanghyang was originally extremely strict to be held secretly that do not touch outsider and foreigner's eyes in shape of public entertainments.
Being held on Monday every week is Barong&Kris Dance. Good and evil exist at the same time also in person's mind and this world. The one that the good was made an embodiment is holy beast Barong. The incarnation of evil is witch Randa. Barong and Randa are the talks that it keeps fighting through all eternity as always fought against evil by good in person's mind.
It is based on the traditional Balinese ceremony’s dance, Sanghyang Trance Dance and created the performance with the part of Ramayana Story. The name of “Kecak” comes from the singing “cha cha cha” which represents voice of spirit. And, the voice imitates Gamelan’s staccato rhythm, and the sound takes part in as the orchestra of Kecak Dance.
It is rather difficult to trace the origin of Janger. No place in Bali admits to having been responsible for the first Janger. The north Bali says it came from south, the south attributed to north. If Bali makes Lombok responsible, Lombok says it learnt from Bali. Some expert said that the janger is derived from Sanghyang dance. The female and male choirs were taken away from Sanghyang Dedari and formed new composition. Some said that janger originated from the song of girls, who picked coffee beans from the trees in North Bali.
When they were sitting together during their break in the work, they began to sing together, joined by a few boys and it developed into Janger. Other said it was the Balinese answer for Sumatran Rampak Sembilan dance. The popularity of this art performance reached its peak in 1960s, when nearly every village and every school in Bali has its own janger group. In that time becoming a successful Janger Dancer was the dream of every youth.
They hummed the Janger song all day long, accompanying all their activities. Janger is performed by a group of boys and girls., the boys are usually sitting in two row facing each other and the girls are sitting in another two rows, so that they form a square, in some performance the square formation is substituted with two row formation in which the girls occupy the front row while the boys on the back. The boys are sitting cross-legged, while uttering ejaculated sound and doing intricate hand movements which are derived from pencak silat (traditional martial art) movements.
The girls are kneeling and singing a janger song while dancing and making weaving patterns with their hands. The janger performance is usually accompanied by geguntangan orchestra. What is quite unique and produce diverse opinion on janger is not the dance but the costume of the dancers. At first, the costume of the girls was the Balinese sarong and a bodice, and the boys wore sarongs and Balinese headdresses. But with the time the girls changed their costumes to European clothes, even wearing stockings and shoes.
The boys changed their sarong to khaki uniforms with apulets and pasted or painted moustache and even dressed as boy scouts. Early writer such as Hickman Powell and Covarrubias agreed that janger is an unbalinese dance. The rapid spreading of janger in 1960s which swept the entire island so quickly made most Balinese share the same thought that janger would not last long, and it is true. After 1965, most of the janger groups vanished from the community. Only a few are left which still perform for tourist in Denpasar.
By 1919 the style of Kebyar was well established. The King of Tabanan, who served also as the Dutch regent for his province, sent for a Kebyar orchestra (from North Bali) in that year to play at an important cremation.
In the audience was a young and very talented dancer, I Nyoman Mario, who was much impressed by what he heard and who undertook to develop further the possibilities for dance in a new style. His great contribution was ready in 1925, when he presented Kebyar Duduk for the first time.
Mario took the idea of playing the terompong (an old instrument) in virtuoso manner during the performance and developed a flashy style of playing the instrument, with whirling sticks and flourishing gestures. He had to squat behind the instrument to be able to play it, and this suggested that the entire composition might performed in a sitting (duduk) position.
He took the costume from Kebyar Legong, but to move in a squatting position he had to hold up the train with one hand as he moved and this became the hallmark of the dance. The mood of Kebyar Duduk is determined by the music, and the dancer works in close co-ordination with the entire gamelan to interpret its shifting colors.
Many of the basic poses, gestures and longer phrases of movement have been adapted from Legong, but they have been made more intricate, more elaborate, and more artificial.
In Kebyar Duduk there is no pantomime whatever, and the narrative element is absent. The dance is set to a single musical composition which lasts for perhaps twenty minutes. The dance progresses through a sequence of moods of an idealized Balinese youth who is just at the point of reaching full maturity. He expressed a gamut of emotions, ranging from sweet flirtatiousness to bashfulness, melancholy and angry bravado.
If black magic prevails, a village fails into danger, and extensive purification ceremonies become necessary to restore a proper equilibrium for the health of the community. Dramatic art is also a mea of cleansing the village by strengthening its resistance to harmful forces through offerings, prayers and acts of exorcism. Such is the symbolic play of the two remarkable presences-the Barong and Rangda. Barong, a mystical creature with a long swaybackand curved tail, representstheaffirmative, the protector of mankind, the glory of the high sun, and the lavorable spirits associated with the right and.white magic.
