Shadow Puppet Bali

The wayang puppet show is perhaps the most famous show in Balinese theatre, albeit the most difficult to understand. Basically an epic narrative, it is the key to Bali's unique world of myths, symbols and religious beliefs.

The puppet master, or datang, tells his story by projecting the shadows of the puppets he manipulates behind a white screen and a large lamp. He plays several characters at once, shifting from Old-Javanese to High-Balinese, singing and hitting a box to mark the rhythm. A good dalang is a one-man-show, being in turns smart, funny and melancholic.

The datang borrows the frame of his narrative from the great epics of the Indo-Javanese tradition, the Mahabharata and the Ramayana, although other stories may sometimes be used. He then creates his own episodes, usually concerning a hero's quest for a magical weapon, heavenly secret or partner. The hero, accompanied by buffoons, succeeds eventually after tortuous adventures in the wilderness and fights with evil giants. The two sets of puppets - the heroes on the right, villains on the left - symbolise the eternal struggle between good and evil. But for the audience, the datang's ability to poke fun at everyone through the mouths of the buffoons is no less important than the narrative.

Joged Dance

The Joged Bumbung is one of the few exclusively secular dances of Bali, in which the brightly-dressed dancer invites men from the crowd to dance with her in a pretence of seduction. The music is made with bumbung (bamboo) instruments. This dance is very popular with tourists. The dance begins with a long opening sequence by the female dancer. 

Then, long shawl in her hand, she selects a man from the audience by either pointing with her fan or touching his waist He (the pengibing) comes on stage to hoots from the audience, and is expected to be as adept at teasing as the women dancer. The better he is, the louder the cheers and roars from the crowd. He may try to pinch her, dance hip to hip with her, or even behave like an angry lover and try to hit her.

Legong Dance

The dynamic Legong Dance is the epitome of classical female Balinese dancing. A court dance, it was created in the 18th century in the circles of the principality of Sukawati. Now including a variety of modern "free creations" (tari lepas), the legong is usually the first dance taught to beginners. 

Months of training are needed to master the perfect mix of posture (tangkep), movements and mimicry. Three dancers in glittering costumes one condong lady-in-waiting and two princesses whose roles change according to the narrative - usually perform it. The ancient legong used to have a storyteller's accompaniment, but these days they are only dance performances.

Kecak Dance

"Cak-cak-cak." The obsessive sound of a choir, from beyond the dust of ages suddenly rises between, the lofty trees. Darkness looms over the stage.Hundreds of bare-breasted men sit in a circle, around the flickering light of an oil lamp chandelier."Cak-Cak". They start dancing to the rhythmic sound of their own voices, their hands raised to the sky and bodies shaking in unison. This is the unique Kecak, perhaps the most popular of all Balinese dances.Visitors rarely leave the island of Bali without first seeing a kecak performance. Originally the kecak was just an element of the older Sang Hyang trance dance. It consisted of a male choir praying obsessively to the souls of their ancestors. At the initiative of painter Walter Spies, this religious choir was transformed into a dance by providing it with a narrative. The ballet is the Ramayana epic. The prince Rama, his wife Sita and his brother Laksmana are exiled in the middle of the forest. Rama goes hunting a.golden deer at the request of his wife, who saw the strange animal and has asked him to catch it. While he is away, she is kidnapped by Rahwana and taken to the latter's island kingdom of Alengka.  Rama allies himself with the monkeys and in particular with the white monkey Hanoman. They build a bridge and cross to the island. War ensues until finally Rama defeats Rahwana and is again united with his faithful wife.

Barong Dance

The Barong is the magical protector of Balinese villages. As "lord of the forest" with fantastic fanged mask and long mane, he is the opponent of Rangda the witch, who rules over the spirits of darkness, in the never ending fight between good and evil. During the Galungan Kuningan festivals, the Barong (there are many types, including barong ket, barong macan, and barong bangkal) wanders from door to door (nglawang) cleansing the territory of evil influences. The fight between Barong and Rangda is also the topic of traditional narratives, usually performed in the temple of the dead. The most famous is the story of Calonarang, a widow from Jirah who is furious because she cannot find a suitable husband for her daughter Ratna Manggali. All the eligible young men are scared of her black magic, so she gets revenge by wreaking havoc over the kingdom of Daha. The king, Erlangga, tries to punish her, but all his attempts fail. She kills all the soldiers he sends to destroy her. Then Rangda decides to destroy Daha. She summons all her disciples and in the still of night they go to the Setra Gendrainayu cemetery, to present offerings of dead flesh to Durga, the goddess of death. Durga agrees to the destruction, although she warns the witch not to enter the city of Daha. But the witch does not heed Durga's advice and the kingdom is soon hit by grubug (a plague) and the villages quickly become cemeteries, people dying even before they can bury their dead. Corpses are scattered everywhere and the stench is unbearable.  The only person who can defeat the witch is Mpu Bharadah. At the king's request, Bharadah sends his disciple Bahula to steal Calonarang's magic weapon. Bahula pretends to ask for Ratna Manggali's hand in marriage, and while the witch is away, Bahula steals the magic. weapon with the help of Ratna Manggali. Then he gives the stolen weapon to his teacher Bharadah. The weapon turns out to be a manuscript containing the key to ultimate release (moksa) which has been used upside-down by Calonarang.

Bharadah goes to Daha to challenge the witch. With the help of the Barong, she is defeated. Before being killed, she asks to be released from her curse and purified.

Gamelan degung

Gamelan degung is unique to Sunda. It developed during the 19th century in the courts of the Bupati (Regents), who were the local Indonesian rulers under the Dutch. Since Independence in 1945 degung has become increasingly widespread among the general populace. Nowadays it is often played at wedding receptions, or as background music. Because of its former aristocratic connections, the middle class consider it more 'up-market' than gamelan saléndro. At the same time it has also become the vehicle for a certain type of Sundanese popular music , which via the cassette industry enjoyed phenomenal commercial success in the late 1980s (degung instrumental. While in the courts (Kabupatén) degung was played exclusively by men, now it is more often played by groups of women (apart from the suling and kendang).

A gamelan degung comprises the following instruments:

goong,jengglong,bonang,cémprés or panerus,peking or saron,kendang,suling

In older degung the jengglong pots are hung from a frame, facing the player. In more recent instruments, the pots are often placed on horizontal frames (as in the photograph above). One musician told me that this is considered more suitable for women players!

The bonang consists of 14 pots arranged in a single row. In older degung these were placed on two frames set at an angle in a V-shape. In more recent degung, they are often placed on three shorter frames set at right-angles in a U-shape.

The suling (bamboo flute) used in degung is quite short (a little over 30 cm long) and has four holes. Its effective range is two octaves.

The instruments mentioned so far constitute the classical line-up. Nowadays in degung kawih other instruments are often added. These may include a kempul (small hanging gong), gambang (xylophone), a pair of one-octave saron, and a kacapi siter (a small zither with 20 steel strings). Occasionally a rebab may replace the suling, particularly if playing pieces from the gamelan pélog repertoire. In degung kawih, the normal suling degung may be replaced by a longer 6-hole suling tembang which has a larger range.

Sundanese Gamelans

A large proportion of Sundanese music is performed on gamelans, sets of bronze or iron instruments supported by carved wooden racks. A Sundanese gamelan usually consists of a core group of metallophones (saron), horizontal gong-chime sets (bonang), vertically suspended gongs (go'ong), and a set of barrel drums (kendang). Other features, including xylophones, aerophones (flutes or oboes), a bowed lute, and vocalists, are included according to the type of ensemble. Pieces for gamelan are normally organized in cycles, with the ending of each cycle marked by the low pitch of the go'ong. These cycles may be played many times in a single piece. The drummer demarcates the cycle by outlining specific patterns; he also acts as the timekeeper, coordinator, and controller of dynamics. Gamelans in West Java encompass a variety of types, from the ubiquitous five-tone gamelan saléndro to the rare seven-tone gamelan pélog, the multi-laras (multiple-tuning) gamelan of Asep Sunandar Sunarya, and the five-tone gamelan degung. Gamelan saléndro is used in instrumental performance, and as the accompaniment for a solo female vocalist, a dance, or the Sundanese three-dimensional rod-puppet theater (wayang golèk). In addition to the standard instrumentarium of metallophones, drums, gong chimes, and gongs, it includes a bowed lute (rebab) and usually a female vocalist. It is versatile and can be played in nearly any context, particularly at important social events, like weddings, ritual feasts, and neighborhood celebrations. Gamelan degung is the other primary Sundanese gamelan; in addition to the usual instruments, it also includes a set of six hanging gongs (degung or jenglong), which gives the ensemble its name. Gamelan degung is frequently used for weddings, and shifted during the latter half of the 20th century from an instrumental ensemble performed primarily by men to one in which the ensemble serves as accompaniment to female singers. In addition, the new repertoire of pieces is less challenging to perform. Women now dominate the performance of gamelan degung, with the exception of the kendang (drum) and suling (bamboo flute), which are still always played by men.

Sundanese Music

The notes on his page are derived primarily from my article on Sundanese music in The Garland Encyclopedia of World Music,volume 4 (Southeast Asia). Fortunately for those interested in Sundanese music, a growing number of resources has made exploration easy. These resources include Henry Spiller's Gamelan: The Traditional Sounds of Indonesia, Andrew Weintraub's Power Plays: Wayang Golek Puppet Theater of West Java, my own The Sound of the Ancestral Ship: Highland Music of West Java, and Wim Van Zanten's Sundanese Music in the Cianjuran Style. Those are just the books! You can also find our articles in the Asian Music Journal, Ethnomusicology, The World of Music, Oideion, Balungan, Asian Theatre Journal, and The Yearbook for Traditional Music.


The Sundanese are Indonesia's second largest ethnic group. They live in the province of West Java (also called "Sunda" by many foreigners), encompassing the interior highlands, the coastal areas, and Cirebon, a culturally distinct region. The boundary between West and Central Java lies at the eastern foothills of the Priangan Highlands, and a wide band of west-central Java from north to south incorporates cultural elements from both West and Central Java. Those who consider themselves ethnically and politically Sundanese speak Basa Sunda in addition to Bahasa Indonesia (the national language), and most Sundanese are Muslims. When the Sundanese refer to their performing arts, they are careful to describe what they call khas Sunda -- that which is characteristically Sundanese -- a designation that bears a sense of regional identity

The philosophy of Gamelan

With a deep inner feeling, Gamelan instruments do not produce only a magical sound of music, a heart-moving melody but they reflect also the essence of a real life. Let’s try to understand the meaning.


Rehab: Reflecting the breath of human life, with no breathing, a human being does not live.


Pamurbo Uriping Titah


Pamurbo - the one who is authorized, who has power.
Urip - life
Titah - beings
The one who has power to arrange the life of human-beings.


Bonang : a born baby shall cry, otherwise he/she is sick. A sign of a baby’s birth Pamurbo swaraning Titah
Swara : Voice.

Kendang: it could be played to accompany various steps of dancers. Sometimes:

          o Slow and steady (LADRANG)

          o Careful, blessed by the holy God (KETAWANG)

          o Quick (SESEG) etc.

Pamurbo Wiramaning Titah

Wirama: Step
The one who is authorized to regulate the steps of human-beings. The other dancing steps/movements in dancing are adroit and joking as the dance of a lady-entertainer.


Gong: from the word, Hong, a pray for safety. Symbolizing humanbeings should live in safety.


The Gamelan is showing the clear relationship between the creator (the Holy God) and the creatures (the human beings). The human beings must have a good manner during their life, so they live in safety.

Gamelans in Java

Everyone should agree that the most adorable, beautiful Gamelan sets with perfect sound are those Gamelan sets belonged to four royal palaces, in Solo (Karaton Surakarta and Puro Mangkunagaran) and Yogya (Karaton Yogyakarta and Puro Pakualaman).


It is the fact that these four royal palaces are the centers of Javanese art and culture. Those Gamelans have a long history very closely related to the birth and existence of the palaces. Together with the weapons – heirlooms (Pusaka), the Gamelans are the most precious belongings to the Karatons. Even the Gamelans are also considered as heirlooms and they have names. In the ancient time, heirlooms are the symbol of power and authority to Javanese Kings.


Today, as a continuation of tradition and cultural heritage, the Karaton’s heirlooms are treated specially, for instance by cleaning or bathing or by providing with offerings. The most important events for heirlooms take place in the Javanese month of Suro.

Gamelan Bali Instruments

Bali has several types of gamelan orchestra. The largest (with some 25 players) and best-known types are Gong Kebyar and Semar Pegulingan. Some seventy years ago there were important differences betweeen the two types, but nowadays they are almost alike, both in form and function. The Semar Pegulingan as a rule is higher pitched than the Gong Kebyar and the lead instuments are of a slightly different type.

A gamelan orchestra in Bali consists mainly of two types of instrument: genders and gongs. Each type of instrument has its specific function in the melody and its own playing technique.

Gender - melody and figuration

Genders have bronze keys that are hung over bamboo resonators and are struck with a wooden mallet. These instruments play the core melody and its figurations.  All instruments of the gender family are tuned in pairs, the ngumbang ("hummer", the lower-tuned) and the ngisep ("sucker", the higher-tuned).

The corresponding keys of a pair are tuned 4 to 6 Hz apart. When struck simultaneously, this difference in pitch will cause an interference between the sounds. This gives the gamelan of Bali its famous shimmering sound.

Gong - interpunction

Gongs come in three varieties: single hanging or lying gongs that are played by one person each and that give accents to certain fixed points in the melody, sets of ten gongs lying on a frame that are played by one person as a melodic instrument (terompong), and sets of seven or twelve gongs lying on a frame that are played by two resp. four people as a rhythm instrument (reong), used to embellish the main melody.

Kendang - the conductor

The gamelan orchestra is conducted by the kendang, a pair of conical double-ended drums.  They come in pairs: the kendang lanang is the higher pitched of the pair, the kendang wadon the lower pitched.

The kendang players sit cross-legged on the ground with the kendang across their laps. The larger drumhead points to the right and is played by the right hand, the smaller is played by the left. Depending on the type of melody, the right head may be played with a drumstick (panggul) or by bare hand. Drumsticks are never used by the left hand.

Gongs, genders and kendangs are the basic elements of a gamelan orchestra. The reong and terompong may be present. The gamelan may be further enhanced with a set of suling (bamboo flutes), a rebab (Arab two-stringed violin) and a ceng-ceng (set of cymbals).

Varieties of gamelan ensembles

Varying forms of gamelan ensembles are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style. Certain styles may also be shared by nearby ensembles, leading to a regional style.

The varieties are generally grouped geographically, with the principal division between the styles favored by the Balinese, Javanese, and Sundanese peoples. Sundanese gamelan is often associated with Gamelan Degung, a Sundanese musical ensemble that utilises a subset of modified gamelan instruments with a particular mode of pelog scale. Balinese gamelan is often associated with the virtuosity and rapid changes of tempo and dynamics of Gamelan gong kebyar, its best-known style. Other popular Balinese styles include Gamelan[clarification needed] and kecak, also known as the "monkey chant." Javanese gamelan was largely dominated by the courts of the 19th century central Javanese rulers, each with its own style, but overall is known for a slower, more meditative style than that of Bali.

Outside of the main core on Java and Bali, gamelans have spread through migration and cultural interest, new styles sometimes resulting as well. Malay gamelans are designed in ways that are similar to the Javanese gamelan except they lack most of the elaborating instruments and are tuned in a near-equidistant slendro, often using a western Bb or C as a tuning basis. Javanese emigrants to Suriname play gamelan in a style close to that found in Central Javanese villages. Gamelan is also related to the Filipino kulintang ensemble. There is also a wide variety of gamelan in the West, including both traditional and experimental ensembles.

Balinese Gamelan Music

Balinese music evolved from a complex mixture of local and Javanese sources. Hindus fled Java after the 14th-century collapse of the Javanese Majapahit dynasty to establish in Bali, bringing along their music and musical instruments. One thing that has always seemed remarkable to ethnomusicologists and historians is that Bali was able to sustain its Hindu culture, despite its proximity to Java.

On the one hand, Balinese Gamelan music has still strong similarity with Javanese music. For example, some Balinese gamelans share important traits with older styles of Javanese Gamelan, which are no longer heard in Java. Yet, on the other, there are major differences. Balinese have exceptionally active composers, writing new pieces for their ensembles, but also, have created, especially in the 20th century, new styles of music as well as new ensembles, involving either typical Gamelan ensembles, the voices or other musical instruments.

As in Java, music in Bali is used to accompany ritual activities, as well as other non religious occasions. Religious events are surely the most prominent. Balinese being highly religious, they have set all around the island thousands of temples. When there is music there is also dance. For Balinese, both music and dance go hand in hand. As in Java, Balinese Gamelan music does not seem to be as influenced by the music of the Western world than in some other countries.

The instruments used, such as gongs, all kinds of metallophones, drums, the suling and the rebab, are closely related to those found in Java; and as well as the tuning system and modes, though with some slight differences.

Contrary to Java where Gamelan are commonly own by musicians, patrons, the court or institutions, in Bali each village are divided by wards, and most wards own at least one Gamelan. It is the responsibility of the people to take care of the instruments. There may thus be several orchestras in each village and town. And the style of music may as well vary from one village, town or region from the other. As Michael Tenzer indicates, “Music is ubiquitous in Bali; its abundance is far out of proportion to the dimension of the island” (Tenzer, 1991).

The major difference between Balinese Gamelan music in regards to Javanese music is that Balinese music is strictly composed. There is very little space for improvisation, although there is some at times. Each piece is written and practiced as such to attain a “unified musical expression” (Tenzer, 1991). This possibly gave the opportunity to composers to broaden the orchestral complexity of their Gamelan music. Balinese musicians “rehearse to perfect their music more than any other large ensembles in the world” (Tenzer, 1991). While Javanese gamelan does not possess these features, its great complexity comes from the many strands of performers’ improvisations.

Balinese music went through major changes and developments in the 20th century. When the Dutch seized power in 1908, the Balinese court lost much of its power. By 1930, the court was becoming some kind of remnant and the court gamelan were in storage. Unable to maintain its role as patrons of the arts, court Gamelan were sold or given to village musicians. This had a major impact. The arts, their fostering, creation and development, could now be taken of by the people. Many of the court orchestras were melted down and recast as into new and more versatile instruments better suited to the tastes of the villagers. By leaving the court, Balinese music became louder, faster, more dramatic and flamboyant, with sudden changes in tempo and dynamics. While in the south the music is often said to be more refined, in the north it is sometimes more aggressive.

New styles of and types of ensembles developed, in particular the Gong Kebyar, which merged different older styles. We have also seen the emergence of a large number of composers, with their own individual style of music. Yet, although Balinese musicians have had many interactions and collaborations with Western musicians, their music remains distinctively their own.

This flamboyance and matchless creativity have surely been two of Bali’s trademarks for the attraction and interest Westerners have shown about their music. Javanese music is subtler, less obviously showy, and often remains more mysterious to those encountering it for the first time.

Javanese Gamelan Music

The word "gamelan" is a Javanese word meaning "orchestra," referring to the instruments that make up the ensemble. Although we find similar types of music and ensemble all around Southeast Asia, as in Thailand and Cambodia, for example, gamelan music as is known today is particular to four nearby islands: Java, Madura, Bali, and Lombok. There are a large number of different types of gamelan ensembles, as much in terms of instruments used as in sizes, as much in styles of music performed as for occasions when they are performed, as well for whom they perform. These ensembles can range from few portable instruments, played by three or four musicians, to a large ensemble with as many as twenty-five musicians and between ten to fifteen singers. Large gamelan are own by wealthy patrons, shadow play puppeteers or particular institution such as banks, schools or government offices. For their part, musicians own smaller and more portable ensembles. Javanese Gamelan music has been performed for and enjoyed by people of all walks of life, from beggars to kings, although the sizes and types of ensembles, as well as the styles of music differs depending from which social class the audience is and on the occasions.

Most of the times, Gamelan ensembles accompany dance and theater, and especially "wayang kulit", the well-known Javanese (and Balinese) shadow puppet theater. The "dhalang", or puppeteer, and the ensemble sits behind a white screen generally lit up by a coconut oil lamp. (The audience may see the show from both sides of the screen.) Another theater is the "wayang wong", in wich the actors sing, dance and act. As for dance accompaniment, Gamelan accompanies a wide range of types of dances, which vary with the social context (e.g., from court dance to performances linked to folk dance). Gamelan, without dance and theater, are heard during particular events such as weddings, circumcisions and birthdays, for example, as well as on radio.

In a typical Javanese Gamelan, the instruments can be divided as follow: time-marking instruments (gongs of different sizes), melodic instruments (the "suling", an end-blown flute; and the rebab, a bowed spike fiddle, which plays the balungan, or fixed melody), elaborating instruments (all other metallophone instruments, which create the sound so typical of Gamelan music; the rebab and suling are also part of these groups). Singers can join in, either to sing solo songs or simply to add to the musical texture, normally during the soft moment of the piece. But there is a lot of variations between different ensembles, depending on their uses and purposes (as well as the wealth of the owner). For example, court ensembles will greatly differ in instrumentation and repertoire from more general ensemble used in weddings, or other social events. Three types of metal are use to make these metallic instruments: bronze, brass and iron, bronze being the most preferred.

Javanese music uses two tuning systems (or "laras"): sléndro and pélog. Sléndro has five pitches to the octave, while pélog has 7 pitches. With sléndro, the octave is divided in more or less 5 equals intervals; while with pélog, the octave is divided in 7 unequal intervals. Although pélog has 7 notes, usually only five are used in a given composition. The tuning can vary from one ensemble to the other, and from one instrument to the other. For our Western ears, this music may sound out-of-tune. These two laras will not be heard together during a performance. Out of these tunings, modes (or "pathet") are used, in a quite complex interrelated system and theoretical system. The Javanese pathet are associated with times of day, moods or theatrical conventions.

One particularity of Javanese music, compare to Balinese, is that the musicians somewhat "improvise". It is not an improvisation in the Western sense of the terms, but more in the sense of being able to develop, embellish and "improve" a piece as it is being performed. Yet, musicians are not allowed to go beyond certain traditional rules, they "do not express personal feelings, but, rather, perform their personal interpretations of the tradition" (Susilo). They even have 5 different types of improvisations. In this sense, musicians do not learn a particular score, but a piece structure plus a traditional way to treat it. For this reason, musicians who never played together can often performed without much practice.

Javanese and Balinese Gamelan Music

When music lovers talk of Gamelan music, they generally refer to Balinese Gamelan music, some important types of which came from Java to Bali around 14th or 15th century after Islam had taken root in Java. In the Western world, Balinese Gamelan music is more popular and more known than Javanese Gamelan. Although Balinese music has obvious similarities with Javanese, it as well evolved quite differently from it. This article gives a brief description of both Javanese and Balinese musics, showing their similarities and their differences.

Central Javanese Gamelan

Indonesia is a big country, consisting of many cultures with many musical traditions. The biggest culture, with the most highly refined musical tradition, is that of the Javanese. The island of Bali also supports a distinct classical tradition. The music of other cultures has also been recorded, but I will not be dealing with that, as it has more the character of folk art.

Since many readers are apparently less familiar with the Javanese cultural setting (as opposed to India, China or Iran), I will discuss this background before proceeding to the list of recordings. The language we call Javanese is spoken in the central and eastern parts of the island of Java. The western part is Sundanese (from which there are also a few recordings, not to be discussed). Javanese is a very complicated language, consisting of three distinct vocabularies and grammars to be used with those in superior, equal, or inferior social positions with respect to the speaker. The national language of Indonesia is a modern construction, designed for simplicity and easy use by the wide array of different cultures within its boundaries.

Prior to the European period, Javanese was the dominant culture of the region, at times holding hegemony in parts of the Asian mainland. For instance, in the early-medieval history of what is now Cambodia, a restoration of the traditional monarchy was heralded by the arrival of a prince from Java to take the kingship. During the Mongol era, a large invasion fleet (much larger than that sent to Japan) was sent to Java, only to be soundly thrashed at sea, without a landing. This will give the reader some idea of the Javanese strength, but it should also be noted that this hegemony was generally not expressed through military means (at least insofar as we understand it), but rather as cultural and trading superiority. Of course, this situation was drastically modified by the arrival of the Arab traders.

Indonesia is counted as the most populous Muslim nation in the world, but this is somewhat misleading. Islam is not a "state religion" as it is in many Islamic countries, and there is quite a bit of variety, although the majority of inhabitants do profess Islamic beliefs. Among the larger cultures, North Sumatra is the "most" Muslim; in fact, it was home to a major Islamic University (known, for instance, in China) during the later medieval era. Java is also Islamic, in the sense that the people believe in many of the tenets of Islam and identify themselves as Muslims, but there are also other simultaneous belief systems. Prior to Islam, Java was alternately Hindu and Buddhist (and Bali remains Hindu), and these beliefs continue to be important for Muslim people. There is also an older layer of native religious practice which is still alive and well. Javanese religion is termed "syncretistic" (i.e., combining various influences), and it is generally only our tendency to give priority to the monotheistic religions which yields the Javanese the designation of "Islamic" per se. Of course, the influence of Islam should not be understated either.

The above discussion of syncretism should not give the impression that Java is an area of religious conflict. The different belief systems have been molded into a coherent whole, and the various public rituals (like the calendar with its simultaneous cycles of five and seven days, i.e. these coincide every thirty-five days) are thoroughly ingrained throughout the Javanese population (of course, as we know, the "Europeanized elite" frequently have different ideas). The Sanskrit classic epic Mahabharata continues to be a huge cultural influence on Java (it is easily apparent from the simple fact that many personal names are taken from that text, etc.) and the shadow puppet theater based on episodes from this epic is one of the most distinctive and wide-spread Javanese cultural practices. The gamelan is always used to accompany these plays (wayang kulit). The classical dance forms of Indonesia are also attaining some level of popularity in the USA (you could have seen them regularly in the Rose Bowl Parade, for instance), and much of the court music was written to accompany dance. There is also a large and impressive body of surviving classical literature on various topics, usually written in verse (including a verse encyclopedia, if you can imagine...).

The gamelan orchestra, based on metallic percussion with some wooden xylophones and drums, is well-known to many readers. In various forms, it is ubiquitous to Southeast Asia. In Java, the full gamelan also adds a bowed-string instrument (the rebab, a name illustrative of Islamic influence), a bamboo flute (suling) and voices. The rebab is one of the main melodic instruments, together with the bronze xylophone "gender," and is often played by the senior musician to lead the ensemble. Voices consist of male (and sometimes female) choruses called gerong, together with female soloists called pesindhen. However, the voices are not used as "lead" instruments in court gamelan (as opposed to wayang kulit, shadow puppet theater) and blend with or complement the sound. More specifically, the chorus is very much a part of the texture, whereas the soloist has an almost-separate improvisatory role, including the use of notes outside of the mode of the piece. In these abstract pieces, mostly "gendhing" on the current list, the words are largely secondary to the music.

This list of recordings is devoted to court gamelan. There are four royal courts (kratons) in Central Java, two each in Surakarta (Solo) and Yogyakarta. Returning briefly to history... when the Dutch took over the Southeast Asian trade and established themselves in Java (Sunda, actually), their policy was not to destroy the royal court, but to isolate it. In other words, they did everything they could to remove any political influence from the sultans, but allowed the court to remain as a cultural institution (which had always been a large part of its role, perhaps analogous to the Chinese Emperor). Much later, the court (originally in Solo) divided into four, due to philosophical differences (of aesthetic) in the royal house, and with encouragement from the Dutch. The kratons continue to serve as cultural and educational institutions, and house the classical music tradition of Java. Each court has a huge roster of musicians and an extensive collection of historical instruments. Today many of these musicians also have jobs outside their kraton, but this was not true in the recent past. Despite what any of this discussion might imply, the music itself is extremely coherent. It shows no sign of mixed objectives, but is rather a "pure" style. The repertory is vast.

There are two scales in Javanese gamelan music, "slendro" (pentatonic) and "pelog" (heptatonic-pentatonic). Tuning is not standard, rather each gamelan set will have a distinctive tuning. A complete gamelan consists of a pair of sets, one tuned in each of the scales and intended to be played together in many instances. Different gamelan sets have different sonorities, and are used for different pieces of music; many are very old, and used for only one specific piece. Musical forms are defined by the rhythmic cycles. These consist of major cycles subdivided by smaller cycles, each marked by the striking of successively smaller gongs. The melodic interplay takes place within this framework (technically called "colotomic"). There are also distinct melodic modes ("pathet") within the division of scale, three for each of the scales. The modes are defined according to which notes of the scale are emphasized, much like the vadi/samvadi concept in Indian classical music.

History and mystery gamelan of java

His type of traditional musical instrument that came from Javanese culture called Gamelan is still preserved in the Palace of Yogyakarta and Solo.

DEVELOPMENT OF JAVA AND GENERATION OF GAMELAN

1. Arts Karawitan.Gamelan is a set of Javanese traditional music instrument played by some people to become a harmonious sound or combination referred to as musicians. The word comes from the Javanese Karawitan sauce which means complicated, convoluted, or pepper also contains the meaning of subtle, beautiful, and delicious twist. Javanese gamelan music called gamelan, referring to the International music but non-diatonic tone-system (in the barrel slendro and pelog) are processed using a system of notation, sound color, rhythm, instrumental in the form of servings, and a mixture of beautiful vokalia heard.Gamelan is a Javanese Culture and art heritage of the ancient ancestor that contains the values of historical and philosophical for the Indonesian nation, which is still preserved. Java Community before the influence of Hinduism had known ten expertise, such as puppets and gamelan. Historically, Javanese gamelan also has a long history. As with any artistic or other cultural, Javanese gamelan in its development is also changing. The major changes in how manufacturing, while the development of quality concerns. Formerly owned Javanese gamelan ageng confined to the palace. But now anyone who is interested can have it all Javanese gamelans not included in the category. Gamelan complete have approximately 72 equipment and can be played by musicians or drummers with accompanying 10-15 singer. Other equipment in the form of drums, fiddle also referred to the bow, xylophone made of wood, wire siter stringed instrument that I play it picked.Gamelan Java has been recognized internationally and has held many art performances of gamelan in various countries including Europe.Arts Javanese gamelan has entered the school outside of Indonesia and much demand, ironically in his own country less much demand and tend to be more interested in modern music.

 

2. Philosophy Javanese Gamelan is an integral part of the life of Javanese people. This case was caused by the Javanese philosophy of life associated with cultural art form of gamelan as well as closely related to religious development. In the Javanese gamelan has aesthetic functions related to social values, moral and spiritual. Javanese gamelan has its own greatness, the world has recognized the gamelan is the traditional musical instruments from east to offset the tool of all modern western music. It is also an instrument that is flexible as it can in collaboration with the tools of modern music.

3. Inheritance Javanese gamelan to the Younger GenerationIn the present era of globalization, young people look not so interested in Javanese gamelan music or art because it has not so familiar. Another factor because no one has taught seriously. Even the school does not yet support the learning environment play an instrument gamelan music. The present generation is more like when the tool is combined gamelan music with modern music devices, not played in the original were impressed monotonous and old-fashioned. By way of gamelan music combined with modern tools that have been carried out, supporting both traditional gamelan musical instruments indirectly to preserve Javanese culture full of majestic, full of aesthetics, harmony, teaching philosophy, manners, society, tolerance, human shape mentally sublime, and driving people in worship to God. With a community of mutual respect, cooperation, mutual cooperation, hard work and goodwill, keep their own art and culture remain. Do not be until there is a gap with the elders who really has the skills, maintain the best possible communication with the elders as a source or repository of science related to the problem of culture itself, particularly the master musicians, dancing and so forth.

MYSTERY OF GAMELAN SEKATEN IN THE CITY SOLO AND JOGJAKARTA.

Sekaten tradition that goes from the Majapahit era until now, has a great mystery that is believed to bring good luck Sekaten Gamelan. Because the Kraton of Solo and Yogyakarta is still preserve it, each having a pair of Gamelan Sekaten.

Acts when the reins of power from Demak Bintoro move to Pajang Sultanate, Gamelan Sekaten as royal heritage also changed hands. The transition period from Demak to also stop the execution of this Pajang sekaten tradition, because the situation of war and chaos. Nothing found in the age record of sekaten Hadiwijaya Sultan, who ascended the throne on Display at 1550 Masehi. But the possible existence of a degree in Pajang sekaten tradition, as Display a prosperous reign, for about 40 years.

Display in top heyday, Earth Mataram Sultanate was founded by Ki Ageng archery in 1586 Masehi. Situated on the outskirts Opak called Mentaok forest. This region is the provision of Sultan Hadiwijaya for successful archery kill Arya Penangsang. The next year Pajang charisma began to recede, on the contrary, the Mataram Sultanate charisma slowly began to climb into the archipelago.

Panembahan Senopati who likes to seek power through the region East Java, has caused the situation in Central Java heat recovery. Some minor wars between Mataram and Pajang many written in history. An effort to raid Pajang of Mataram, mentioned aground in the middle of the trip due to the eruption of Mount Merapi. Sultan Hadiwijaya died due to illness, due to fall of Elephant vehicle on the incident.

Death of Sultan Hadiwijaya occurred around 1587 Masehi, appears in many ways the struggle for power. The incident when Prince Benowo subside, the eldest son asked for help Panembahan Senopati Hadiwijaya to attack Pajang which was then controlled by Harya Pangiri. Display eventually collapsed. But Benowo hand over the reins of power to Panembahan Senopati. Thus, ended the history of Display, and the triumph of Islam passed by the Mataram Sultanate.

Gamelan Sekaten division.

Various historical events great empire and its successor, resulting in a variety of many traditions that exist. Sekaten as tradition heritage, over time also changes. Amid these developments, tucked a lot of mystery. One of them Sekaten Gamelan, which comes from the legacy Brawjaya V and Sunan Kalijaga. Where existence, now?

Gamelan Sekaten as a royal heirloom, follow to move the hand to follow who is in power. Since Majapahit, Demak, Display and Mataram, Gamelan Sekaten as much as it changes hands. However, history has not ended. For Mataram Sultanate itself is then also split into two, in 1755 Masehi through Giyanti agreement.

Property including Gamelan Sekaten was then divided by two. But it can not be ascertained which of the two kingdoms of Mataram Sultanate fraction that gets Gong Kiai Sekar Delima heritage and legacy Sekati Gong Kiai Sunan Kalijaga. The results only refer to the history of Gamelan Sekaten sekaten must pair, so that each fraction kingdom of Mataram Sultanate of Solo and Jogja create new Gong as a partner.

In the Sultanate of Yogyakarta, a pair of Gamelan Sekaten it by Sultan HB I changed its name to Guntur Madu and Kiai Kiai Nogowilogo. In Kasunanan Surakarta Gamelan Gong Sekaten changed his name to Honey and Kiai Guntur Sari. Strong allegations, two of the same name, Kiai Guntur Madu, a second sign is the original Gong from Majapahit era.

Gamelan

A gamelan is an ensemble from Indonesia which consists primarily of bronze instruments such as large hanging gongs, smaller gong kettles suspended horizontally, and metallophones, as well as a xylophone, drums, voices and a fiddle or flute.  Sometimes brass or iron is used instead of bronze.Indonesia is a huge and diverse country, and there is a huge diversity of design and musical style between gamelan from different regions of Indonesia.

The three main ones are Sunda, Central Java and Bali, but there are also distinct traditions in Lombok, Banyuwangi, East Java, Banyumas, Cirebon, Jakarta, Malaysia and many places in between.  Visit the gamelan mécanique site (produced by Cité de la Musique) for a fun way to investigate gamelan from Sunda, Java and Bali.Playing gamelan has become very popular outside Indonesia in recent years.   

Most gamelan instruments have the great advantage that they are technically quite simple to play: generally the hardest thing is learning how to damp the sound.  Novices can focus on the music and on playing together right form the outset.  The sounds of gamelan are intrinsically beautiful, even when played by complete beginners.  The music combines very simple elements to produce intricate textures, and for the listener its interest often lies in hearing how those disparate strands relate to each other.  

They combine into something which is more than the sum of its parts.You cannot play gamelan on your own.  The Indonesian national motto is “bhinneka tunggal ika” or “unity in diversity” (literally “[although] in pieces, yet one”).  This philosophy pervades gamelan music, which is not about the individual, but about the group.  Virtuosity is not helpful: the ability to listen and become one with the ensemble is far more important.

About Topeng

Topèng, masked dance-drama, is one of Bali's most important genres, as it is used both for religious ceremonies and for the re-enactment of historical chronicles. The history of Topèng is, however, rather obscure. There are texts from the neighbouring island of Java and from Bali itself which indicate that masks of some kind have been used in theatre for hundreds of years. However, the texts they are supposed to have enacted, Babad, now turn out to be much more recent than previously supposed, dating to the latter half of the nineteenth century or twentieth century, where they were probably retrospective claims to territory and people. So we cannot be too sure what Topèng looked like in the pre-colonial period. 

Two forms of Topèng are particularly important. These are Topèng Pajegan, where an entire story is performed by one actor, who changes masks to impersonate the various characters of the story. Topèng Pajegan is usually performed for rites, while a Balinese high priest, Padanda, presents offerings and prepares holy water. Topèng Pajegan is distinctive for the last mask to appear: Sida Karya, the Completion of the Work, a wild-looking character (see below). Another is Topèng Panca, ‘five masks' in which five men play the various roles from the refined king and the strong minister to Topèng Tua, an old man who remembers his youth when he was still vigorous, this last being a wonderful opportunity for expressive dancing. A genre which has flourished recently is Bondrès, clown masks, of which there are a great variety and which permit more modern demotic stories to be told. 

These Topèng comprise full masks. So the characters cannot speak. This task is left to their servants, Panasar, who are normally elder and younger brothers, distinguished as kelihan or simply Panasar and cenikan or Wijil. Although the servants are low caste (as in the shadow theatre, wayang kulit ) and notionally inferior to their aristocratic masters, they play a pivotal role which includes advising their lords and masters. They also frame the plot, comment on events within the play and in real life, and speak direct to the audience. The servants, Panasar, have become more or less standard fixtures in contemporary Balinese theatre from Arja to Derama Gong.

A Little History of Bali

More than four thousand years ago, Bali was an emerald green, tropical rain forest covered island. The first wave of human arrivals from across the seas brought with them techniques for rice cultivation, new languages and new customs. These early immigrants and others who followed over the years helped to create a haven, providing today's visitors with a wealth of sights and sounds, dances, music, arts and crafts. The Island of the Gods is situated approximately on latitude 8o South and longitude 115o East. Bali and the neighboring island of Lombok are the most westerly of the Little Sunda Islands, and part of the 13,700 islands that make up Indonesia, the largest archipelago in the world. The so-called Wallace Line that runs between the island and Lombok serves as the boundary between Asia and Australia, thus naturally separating the flora and fauna between the Sunda Shelf from the Sahul Shelf (to which Australia belongs). To the east lies the island of Java, which once was joined to Bali. While little is known about the stone age people who first settled on the island, the bronze age people left a more lasting legacy. The Dong Son culture with its highly developed techniques of casting bronze objects flourished in Bali. The largest of the mysterious bronze rain drums, found in several Southeast Asian countries as well, was cast in Bali. Considered a sacred object, it is worshipped by the Balinese in the Pura Penataran Sasih Temple in Pejeng. It is said to be wheel that fell off the chariot of the goddess of the moon. The bronze age people, who had a highly sophisticated art of casting bronze objects, also knew the techniques of dry rice cultivation and the art of weaving. Later waves of migrants, Malays mainly, brought with them the secret of wet rice cultivation that increase yields several fold. It began the transformation of Bali into a complex system of irrigation that would provide the water for the rice terraces. Rice then became the stuff of life and the measure of wealth. Kingdoms began to flourish based on this wealth, with all playing homage to the pre-Hindu form of Dewi Sri, the beloved goddess of rice, represented in the ancient form of the chili motif found to this day in offerings. Hinduism was introduced into Bali by the Brahmin priests in the 1st Century AD. These priests traveled along with the Indian merchants who were seeking the fabulous wealth of islands in this region. Hinduism caught on in Bali because it received the patronage of the kings. Buddhism to was accepted and both religions would be blended with elements of the old animistic faith. Throughout Bali, remains of these early independent kingdoms have been found attesting to their early practices and beliefs. Of the many tales of old, one tells of a legendary evil king with a pig's head name Beda Ulu, the same name given to the present-day village of Bedulu, the site of his capital. Another relates to a giant Kebo Iwa, who is said to have carve many caves with his finger nails. These tales continue to be told to this day by the older folk. Yet it was Hinduism and its off-shoot Buddhism that attained the dominant position in the Balinese way of life. Even the inscriptions left by the early kingdoms, were in the form and language of ancient India. Later monuments used a combination of the Indian and the Balinese languages. Close to Bedulu stands the Goa Gajah (Elephant Caves), a religious complex that blends both the practices of Hinduism and Buddhism. Inside this complex there is a cave for meditation with three sets of lingga (phalluses) of Siva, a holy bathing pool and a sculpture of Hariti, the Buddhist deity. Several other monuments still stand as testimony to a glorious past in Bali's history. Gunung Kawi or Poet's Mountain houses several 11th century royal tombs. The list would seem endless for the student of early Balinese history and just as fascinating for the modern day traveler. But by the 12th century, this glorious period would come to an end with the invading armies of the Majapahit Empire and their brilliant General Gadjah Mada. Bali would become an important province of this East Java kingdom that became one of the most powerful empires in this part of the world. It is said that Hindu Majapahit Empire gave Bali the form and structure that stands to this day. The caste system, rules and rituals, art and temple architecture were all passed on from this powerful empire. But Islam began to gain a foothold in the region in the 15th century, much of the strong links with India were broken. Even the mighty Majapahit would crumble by the 16th century and many Javanese nobility moved to Bali, the last stronghold of Hinduism, taking with them their courtly rituals and practices. Left on its own, Bali would return to its animistic past. But this was the period when gamelan, dance, drama and the shadow puppet theatre would develop and flourish. It was also a time of profound change, for not only would there be the rise of Islam but the first westerners were beginning to appear. The Dutch admiral, Cornelious Houtman arrived off the coast of Bali in 1598 to a friendly welcome by Watu Renggong who was king of a united Bali. Encouraged by this gesture, the Dutch named the island New Holland and their influence grew over the archipelago. But with the death of Watu Renggong, the other rulers would rule independently while still paying homage to the Dewa Agung - the honorary title of the Raja of Klungkung. The rulers would often engage in bloody warfare, and a period of conflict took hold. This would change in the 19th century when the Dutch began to consolidate their hold on the various regions of their domination. The Balinese were a thorn in Dutch ambitions, as they seemed to enjoy a measure of independence and prosperity. In the 1840s, the Dutch mounted three wars to gain control over northern Bali. They succeeded only because other rulers in Bali sought Dutch aid for their own gains. There were local heroes like Gusti Djelantik, who managed defeat the Westerners on one occasion in a brilliant move by feigning retreat, only to lead his army now brimming with over confidence, over the hills of Jagaraga in the north where they were ambushed. The ill equipped local forces were often easily outgunned by the Dutch with their modern weaponry. The Dutch launched several ruthless campaigns in the archipelago, and it seemed the brunt of it were aimed at the Balinese. This response in Bali was typical. Local kings led their followers in puputan ("ending") in which all were given the rites of the dead and then marched out to be mowed down by Dutch gunfire. Those who were still standing were cut down by their own followers, thus ensuring their heavenly path to the glorious paradise of their illustrious ancestors. The puputan happened between 1906 and 1908 when the kings of Denpasar and Klungkung chose this path rather than surrender. Thus the Dutch gained complete control over the island and imposed their brand of colonialism, which even included slavery and forced labour. But with the colonial power in firm control, the first waves of tourist began to "discover" the island. Soon the world would hear of Bali, the islands of Gods, dance and drama. Thousands would descend on the island in search of the bronze drums and bare breasted beauties, and several would make their homes here, or take back with them some exotic object to adorn their own homes in the west. Even the local royalty would get into the act, competing among themselves to hire out automobiles and even their princely homes. Home stay was here to stay. Of the many westerners who fell to the charms of Bali, perhaps the most famous was Walter Spies, the German painter who left legacy for all to see. Art and crafts were given new life catering to the needs of the tourists. This was a Golden Era in Bali's annals. Movie makers would immortalize the isle, while books would capture forever the charms and life style of the Balinese. But in the 20th century Bali would also suffer the ravages of disasters; an earthquake and the eruption of Mount Batur in 1917 caused the loss of human life and untold suffering, then the island was hit by the Great Depression. Yet Bali remained in the minds of the most as the holiday island and almost every tourist fell in love with it. Even the Japanese occupation was only a temporary obstacle, for slowly after the end of the Second World War, Soekarno, who was part Balinese, would declare Indonesia an independent nation and with it Bali gained its freedom forever. The early days after the 1945 Declaration of Independence was tough of the islanders as with the rest of the nation. But independent Indonesia was a reality and the fledgling nation set its own course. Tougher times lay ahead when in the 1960s the island would suffer a famine, and first known eruption of the holy mountain, Mount Agung. Then as Balinese society itself was deeply divided between political ideologies and patronage, thousands suffered on the island, until the New Order Government, led by President Soeharto restored peace and gave the nation a new direction. Tourist hotels, in the meantime, had sprung up in several parts of the island. The tourism industry was flourishing soon to gain the status of being among the top foreign exchange earners for the country. Almost every major hotel chain in the world is now represented in the island. The dream or turning Bali into a tourist haven has now become a reality. While the early attractions were mostly around Sanur and Ubud, the planned Nusa Dua complex and even Kuta Beach, which was unplanned, have become the major centers of tourist interest. In Kuta, the hippies and the backpackers led to its rapid growth, and even to this day remains the place where you will find the true holiday-maker. But Bali offers much more for those who really want to spend time savouring a lifestyle, tradition, friendliness and inspiration. Head out to Ubud to immerse in the arts and crafts, to Batubulan for stone carvings, to Mas for silver and gold, to Tenganan for the geringsing cloth. You could spend a lifetime here and yet discover some place new, something that you missed. This is the charm and beauty of Bali. Arrive on its shores and be prepared to be swept off your feet.

Dance & Religion

Balinese dance is inseparable from religion. A small offering of food and flowers must precede even dances for tourists. Before performing, many dancers pray at their family shrines, appealing for holy "taksu" (inspiration) from the gods.

In this rural tradition, the people say that peace and harmony depend on protection by the gods and ancestors. Dance in this context may fulfill a number of specific functions:

a) As a channel for visiting gods or demonic gods, the dancers acting as a sort of living repository. These trance dances include the Sang Hyang Dedari, with little girls in trance, and the Sang Hyang Jaran, a fire dance;

b) As a welcome for visiting gods, such as the pendet, rejang and sutri dances;

c) As entertainment for visiting gods, such as the topeng and the wayang.

In some of these dances, the role of dancing is so important that it is actually the key to any meaning to be found in the ritual. In wayang performances, the puppeteer is often seen as the "priest" sanctifying the holy water.

As well as their use in religious ceremonies, dance and drama also have a strong religious content. It is often said that drama is the preferred medium through which the Balinese cultural tradition is transmitted. The episodes performed are usually related to the rites taking place; during a wedding one performs a wedding story; at a death ritual there is a visit to "hell" by the heroes. Clowns (penasar) comment in Balinese, peppering their jokes with religious and moral comments on stories whose narratives use Kawi (Old-Javanese).

The typical posture in Balinese dance has the legs half bent, the torso shifted to one side with the elbow heightened and then lowered in a gesture that displays the suppleness of the hands and fingers. The torso is shifted in symmetry with the arms. If the arms are to the right, the shifting is to the left, and vice-versa.

Apart from their costumes, male and female roles can be identified mostly by the accentuation of these movements. The women's legs are bent and huddled together, the feet open, so as to reveal a sensual arching of the back. The men's legs are arched and their shoulders pulled up, with more marked gestures, giving the impression of power.

Dance movements follow on from each other in a continuum of gestures with no break and no jumping (except for a few demonic or animal characters).

Each basic posture (agem), such as the opening of the curtain or the holding of the cloth, evolves into another agem through a succession of secondary gestures or tandang. The progression from one series to the other, and the change from right to left and vice-versa, is marked by a short jerky emphasis called the angsel. The expression is completed by mimicry of the face: the tangkep. Even the eyes dance, as can be seen in the baris and trunajaya dances.

The Dances of Bali

Tambulilingan or bumblebees Dance.
The Balinese like a blend of seriousness and slapstick and their dances show this. Basically the dances are simply straight forward ripping yarns – like vaudeville shows where you cheer on the goodies and cringe back from the stage when the baddies appear. Some dances have a comic element with clowns who counter balance the staid, noble characters. The clowns often have to put across the story to the audience, since the noble characters may use the classical Javanese kawi language while the clowns (usually servants of the noble characters) converse in everyday Balinese.
It is not hard to find dances – they’re taking place all the time, all over the island and are usually open to anyone. Dances are regular part of almost every temple festival and Bali has no shortage of these. There are also dances virtually every night at all the tourist centers; admission is usually costs from 50.000 to 80.000 rupiah for foreigners. Many of the shows put on for tourists offer a smorgasbord of Balinese dances with a little Topeng dance, a taste of Legong dance and some Baris dance to round it off. If you see one disappointing performance of a particular dance then look around for another venue as the quality and the level of drama varies. Some of the more common dances are:

Kecak Dance

"Cak-cak-cak." The obsessive sound of a choir from beyond the dust of ages suddenly rises between the lofty trees. Darkness looms over the stage.

Hundreds of bare-breasted men sit in a circle around the flickering light of an oil lamp chandelier. "Cak-Cak". They start dancing to the rhythmic sound of their own voices, their hands raised to the sky and bodies shaking in unison. This is the unique Kecak, perhaps the most popular of all Balinese dances.

Visitors rarely leave the island of Bali without first seeing a Kecak performance. Originally the Kecak was just an element of the older Sang Hyang trance dance. It consisted of a male choir praying obsessively to the souls of their ancestors. At the initiative of painter Walter Spies, this religious choir was transformed into a dance by providing it with a narrative. The ballet is the Ramayana epic. The prince Rama, his wife Sita and his brother Laksmana are exiled in the middle of the forest. Rama goes hunting a golden deer at the request of his wife, who saw the strange animal and has asked him to catch it. While he is away, she is kidnapped by Rahwana and taken to the latter's island kingdom of Alengka (Srilangka).

Rama allies himself with the monkeys and in particular with the white monkey Hanuman. They build a bridge and cross to the island. War ensues until finally Rama defeats Rahwana and is again united with his faithful wife. 

Barong and Kris Dance
Barong and Kris dance like the kecak dance the Barong and Kris dance is a battle between good and evil spirit. Barong can take various forms but in this dance he takes the form of the dance Barong Keket, the most holy of the Barongs. The Barong Keket is a strange creature, half shaggy dog, half lion and is played by two men in much the same way as a circus clown-horse. His opponent is the witch Rangda.
The barong personifies good and protects the village from the witch Rangda, but he’s also mischievous and fun loving creature. He flounces into the temple courtyard, snaps his jaws at the gamelan, dances around and enjoys the acclaim of his supporters-a group of men with krises. The Rangda makes her appearance, her long tongue lolling, her pendulous breasts wobbling, human entrails draped around her neck, fangs protruding from her mouth and saber-like fingernails clawing the air.
Now Barong dance is no longer the clown, but the protector. The two duel with their magical powers and the Barong’s supporters draw their krises and rush in to attack the witch. Randa puts them in a trance and the men try to stab themselves, but the Barong also has great magical power and casts a spell which stops the krises from harming the men. This the most dramatic part of the dance – as the gamelan rings crazily the men rush back and forth, waving their krises around, all but foaming at the mouth. Sometimes even rolling on the ground in a desperate attempt to stab themselves. Finally Rangda retires defeated and good has won again. Good must always triumph over evil on Bali, and no matter how many times the spectator have seen the performance nor how well they know the outcome, the battle itself remains all important.
The end of the dance still leaves a large group of entranced Barong supporters to be brought back to the real world. This is usually done by sprinkling them with holy water, sanctified by dipping the Barong’s beard in it. Performing the Barong and Randa dance – with all that powerful magic – is an operation not to be taken lightly. Extensive ceremonies must be gone through to begin with, a temple priest must be on hand to end the dancers’ trance, and at the end a chicken has to be sacrificed to propitiate the evil spirits.

Legong Dance
Legong this is the most graceful of Balinese dances and to sophisticated Balinese connoisseurs of dancing the one of most interest. A Legong Dance, as a Legong Dancer is always know, is a young girl – often as young as eight or nine years olds and older than her early teens. Such importance is attached to the dance that even in old age a classic dancer will be remembered as a ‘great Legong’ even though her brief period of fame may have been 50 years ago.
There are various forms of Legong but the Legong Kraton, or Legong of the palace, is the one most usually performed. Peliatan’s famous dance troupe, which visitor to Ubud often gets a chance to see, is particularly noted for its Legong. A performance involves just three dancers – the two Legongs and their ‘attendant’ knows as the condong. The Legongs are identically dressed in tightly bound gold brocade, so tightly are they encased that it’s something of a mystery how they manage to move with such agility and speed. Their faces are elaborately made up, their eyebrows plucked and repainted and their hair decorated with frangipanis.
It’s a very stylized and symbolic dance – if you didn’t know the story it would be impossible to tell what was going on. The dance relates how a king takes a maiden, Rangkesari, captive. When Rangkesari’s brother comes to release her he begs the king to let her free rather than go to war. The king refuses and on his way to the battle meets a bird bringing ill omens. He ignores the bird and continues on to meet Rangkesari’s brother who kills him. The dance however, only related the lead-up to the battle and ends with the bird’s appearance. When the king leaves the stage he is going to the battle that will end in his death.
The dance starts with the condong dancing an introduction. The condong departs as the Legong come on. The Legongs dance solo, in close identical formation, and even in mirror image when they dance a nose to nose love scene. They relate the king’s sad departure from his queen, Rangkesari’s request that he release her and the king’s depature for the battle. Finally the condong reappears with tiny golden wings as the bird of ill fortune and dance comes to an end.

Baris Dance
Baris the warrior dances know as the Baris is a male equivalent of the Legong in which feminist and grace gives way to the energetic, warlike, martial spirit. A solo dance, the Baris dancer has to convey the thoughts and emotions of a warrior preparing for action and them meeting an enemy in battle. The dancer has to show his changing moods not only thought his dancing, but also through facial expression. Chivalry, pride, anger, prowess and finally some regret (well war is hell, even in Bali ) all have to be there. It’s said that the Baris is one of the most complex of the Balinese dances requiring a dancer of great energy, skill and ability. Familiar tale in Bali but the dance has been a relatively recent addition to the Balinese repertoire. It tells much the same story of Rama and Sita as told in the Kecak Dance but without the monkey ensemble and with a normal gamelan orchestra accompaniment. It’s also embellished with many improvisations and comic additions. Rawana may be played as a classic bad guy, the monkey god Hanuman can be a comic clown, and camera-wielding tourists amongst the spectators may come in for some imitative ribbing. 

 

Kebyar Dance
Kebyar this is a male solo dance like the Baris Dance, but with greater emphasis on the performer’s individual abilities. Development of the modern kebyar is credited in large part to the famous pre war dance Mario. There are various forms of the dance including the seated Kebyar Duduk where the ‘dance’ is done from the seated position and movements of the hands, arms and torso plus, of course, facial expressions are all important. In the Kebyar Trompong the dancer actually joins the gamelan and plays an instrument called the trompong while still dancing.

Janger Dance
Janger Both Covarrubias and Hickman in their between-the-wars books on Bali comment on this strange new, almost un-Balinese, dance which suddenly popped up in the 1920s and 1930s. Today it has become part of standard repertoire and no longer looks so unusual. It has similarities to several other dances including the Sanghyang where the relaxed chanting of the women is contrasted with the violent cak-a-cak-a-cak of the men. In the Janger dance, formations of 12 girls and 12 young men do a sitting dance where the gentle swaying and chanting of the girls is contrasted with the violently choreographed movements and loud shouts of the men.

Topeng Dance
Topeng the word Topeng means ‘pressed against the face’, as with a mask. This is a mask dance where the dancers have to imitate the character their mask indicates they are playing. The Topeng Tua, for example, is a classic solo dance where the mask is that of an old man and requires the performer to dance like a creaky old gentleman. In other dances there may be a small troupe who dances various characters and types. A full collection of Topeng masks may number 30 or 40.
Another mask dance is the Jauk dance, but this is strictly a solo performance. The dancer plays an evil demon, his mask an eerie face with bulging eyes and fixed smile, long wavering fingernails complete the demonic look. Mask dances require great expertise because the dancer is not able to convey the character’s thoughts and meanings though his facial expressions, so the character of the unpleasant, frenetic, fast-moving demon has to be conveyed entirely through the dance.

Pendet Dance
Pendet this is an everyday dance of the temples, a small procedure gone through before making temple offerings which doesn’t require arduous training and practice. You may often see the Pendet dance being danced by women bringing offerings to a temple for festival, but it is also sometimes danced as an introduction and a closing for other dance performances.

Sanghyang Dances
Sanghyang Dances the Sanghyang trance dancea originally developed as a means of driving out evil spirits from a village. The Sanghyang is a divine spirit which temporarily inhabits an entranced dancer.
The Sanghyang Dedari is performed by two young girls who dance a dream-like version of the Legong. The dancers are said to be untrained in the intricate pattern of the dance and, furthermore, the dance in perfect harmony but with their eyes firmly shut. A female choir and a male Kecak choir provide a background chant but when the chant stops the dancers’ slump to the ground in a faint. Two women bring them round and at the finish a priest blesses them with holy water and brings them out of the trance. The modern Kecak dance developed from the Sanghyan.
In the Sanghyang Jaran a boy in a trance dances round and through a fire of coconut husks riding a coconut-palm hobby horse-it’s labeled the fire dance’ for the benefit of tourist. Once again the priest must be on hand to break the trance at the close of the dance. 

The Gamelan
As in Sumatra and Java, Balinese music is based around the gamelan orchestra. The whole gamelan orchestra is known as a gong – an old fashioned gong gede or a more modern gong kebyar. There are even more ancient forms of gamelan such as the gong selunding, still occasionally played in Bali Aga village like Tenganan.
Though the instruments used are much the same, Balinese gamelan is very different from the form you’ll hear in Java. The Yogyakarta style, for example, is the most reserved, fomal and probably the gentlest and most ‘refined’ of gamelan – while Balinese gamelan often sounds like everyone going for it full pelt. Perhaps a more telling point is that Javanese gamelan music is rarely heard except at special performance, Where as in Bali you seem to hear gamelans playing all the time everywhere you go.