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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.
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.
In legends, Legong is the heavenly dance of divine nymphs. Of all classical Balinese dances, it remains the quintessence of femininity and grace. Girls from the age of five aspire to be selected to represent the community as Legong dancers.
Connoisseurs hold the dance in highest esteem and spend hours discussing the merits of various Legong groups. The most popular of Legongs is the Legong Kraton, Legong of the palace. Formerly, the dance was patronized by local rajas and held in e puri, residence of the royal family of the village. Dancers were recruited from the aptest and prettiest children. Today, the trained dancers arestill- very young; a girl of fourteen approaches the age of retirement as a Legong performer.
The highly stylized Legong Kraton enacts a drama of a most purified and abstract kind. The story is performed ' by three dancers: the condong, a female attendant of the court, and two identically dressed legongs (dancers),who adopt the roles of royal persons. Originally, a storyteller sat with the orchestra and chanted the narrative, but even this has been refined away in many Legongs. Only the suggestive themes of the magnificent gamelan gong (the full Balinese orchestra) and the minds of the audience conjure up imaginary changes of scene in the underlying play of Legong Kraton.
The story derives from the history of East Java in the 1 2th and 1 3th centuries: when on a journey the King of Lasem finds the maiden Rangkesari lost in the forest. He takes her home and locks her in a house of stone. Rangkesari's brother, the Prince of Daha, learns of her captivity and threatens war unless she is set free.
Rangkesari begs her captor to avoid war by giving her liberty, but the king prefers to fight. On his way to battle, he is met by a bird of ill omen that predicts his death. In the fight that ensues he is killed. The dance dramatizes the farewells of the King of Laserm as he departs for the battlefield and his ominous encounter with the bird. It opens with an introductory solo by the condong. She moves with infinite suppleness, dipping to the ground and rising in one unbroken motion, hertorso poised in an arch with elbows and head held high, while fingers dance circles around her wrists. Slowly, her eyes focus on two fans laid before her and, taking them, she turns to meet the arrival of the legongs.
The tiny dancers glitter and dazzle. Bound from head to foot in gold brocade, it is a wonder the legongs can move with such fervent agitation. Yet, the tight composure of the body, balanced by dynamic directive gestures-the flash of an eye, the tremble of two fingers blend in unerring precision.After as hort dance, the condong retires, leaving the legongs to pantomime the story within the dance. Like a controlled line of an exquisite drawl ing, the dancers flowfrom one identity intothel next without disrupting the harmony of t dance. They may enter as the double image one' character, their movements marked tight synchronization and rhythmical verve Then they may split, each enacting a separate role, and come together in complementary halves to form a unified pattern, as in the plan ful love scene in which they "rub noses The King of Lasem bids farewell to his queen, and takes leave of Rangkesari. She repels his advances by beating him with he fananddepartsin anger. lt is then the condong reappears as a bird with wild eyes fixed upon the king. Beating its golden wings to a strange flutter of cymbals, it attacks the king in a vain attempt to dissuade him from war. The ancient narrative relates: ". .. a black bird came flying out of the northeast and swooped down upor the king, who saw it and said, 'Raven, hoi come you to swoop down on me? In spiteo; all, 1 shall go out and fight. This 1 shall do, oh raven!... With the king's decision understood the dance may end; or the other legong may return on stage as his prime minister, and shimmering unison, they whirl thefinal stepsi: war.