Besides its religious function, dance and drama have also a religious content. Balinese cultural memory has been transmitted through drama. The episodes performed are usually relevant with the rites taking place; during a wedding one performs a wedding story, and at a death ritual a visit to hell by the heroes.
Besides costumes, male and female roles are identified mostly by the accentuation of the movements. Women’s legs are bent and huddled together, the feet open, so as to reveal a sensual arching of the back. While the men, their legs are arched and their shoulders pulled up, with sharper gestures, so as to give the impression of power.
Dance movements come out of each other in a continuum of gestures which has no break and no jumping - except for some demonic or animal characters. The expression is completed by mimicry of the face. Even the eyes are dancing
| Arja Dance-Drama
| The dialogue of the Arja consists of songs, so this dance-drama is the Balinese dance-opera. Arja is a very popular performance in Bali. In the past, it used to be performed by men only, although the main character is the princess. Nowadays, Arja dance-opera is performed by women, except the clowns who are played by men.
Arja dance-drama developed around 1880 and its tragic themes basically are derived from the classical romances of the kingdoms of East Java-Kediri, Singasari and Majapahit. Although Arja dance-drama is a favorite among the villagers, it is difficult to follow for those who cannot understand the clowns' translations.
Arja dance-opera is filled with sentimentality and melodrama. Like so many great love stories, there is always some tragic issue at stake between two lovers such as their families prohibit the marriage, a jealous rival makes war on the hero, the princess is captured, the hero falls in love with another woman while under a magic spell. There are always long scenes of painful misery. After endless episodes of intrigue and misfortune, the lovers are at last reunited.
| Baris Dance
| |  The word Baris means line, in the sense of a line of soldiers, and refers to the warriors who fought for the kings of Bali. Baris dance is a solo warrior dance which originally was a religious ritual dance, the dedication of warriors and their weapons during a temple feast.
The dancer must go through hard training to obtain the skill and flexibility that symbolizes the courteous style of the dance. The dancer must convey the characteristics of a warrior such as fierceness, pride, alertness, compassion, and regret. Baris dance is accompanied by a gamelan orchestra, and the gamelan must be entirely in tune to the changing moods of the warrior's will.
| Barong Dance
| |  Barong is probably the most well known dance. It is also another story telling dance, narrating the fight between good and evil. This dance is the classic example of Balinese way of acting out mythology, resulting in myth and history being blended into one reality.
The story is about Rangda, the mother of Erlangga, the King of Bali in the 10th century, who was condemned by Erlangga's father because she practiced black magic. After she became a widow, she summoned all the evil spirits in the jungle, the leaks and the demons, to come after Erlangga. A fight occurred, but she and her black magic troops were too strong that Erlangga had to ask for the help of Barong, the magical protector of Balinese villages. Barong came with Erlangga's soldiers, and fight ensued. Rangda casted a spell that made Erlangga soldiers all wanted to kill themselves, pointing their poisoned keris into their own stomachs and chests. Barong casted a spell that turned their body resistant to the sharp keris. At the end, Barong won, and Rangda ran away.
The masks of Barong and Rangda are considered sacred items. Before they are brought out, a priest must be present to offer blessings by sprinkling them with holy water taken from Mount Agung, and offerrings must be presented.
The are several versions of the Barong Dance during Galungan Kuningan festivals. There are Barong Ket, Barong Asu (Dog Barong), Barong Macan (Tiger Barong), Barong Gajah (Elephant Barong), Barong Bangkal (Pig Barong) - wanders from door to door to cleanse the territory of evil influences.
| Barong Landung
| Barong Landung is different from other Barong dances in Bali. In Barong Landung, the two dancers do not take the figure of animals, but of the two giant puppets, a male and a female. (Landung means tall).
The male giant barong is called Jero Gede (big person) and the female giant barong is called Jero Luh (female person). Each barong is played by a man. Jero Gede has a frightening black face, while Jero Luh has a comical white or yellow face. Together they perform a comic, opera sung in Balinese, with a story usually taken from history.
Barong Landung is derived from the folktale. On Nusa Penida Island, once lived an incestuous giant demon, Jero Gede Mecaling. One day, he went to Bali Island, followed by a horde of devils. He landed in South Bali in the form of a barong and waited there while the devils went inland to destroy. The people frightened and consulted a priest who told them to create another barong like Jero Gede Mecaling to scare away the demon. The people then made a big barong and succeeded in frightening the giant demon back to Nusa Penida. Since then, the barong has been used to exorcise illness and evil spirits.
Barong Landung is usually performed on Galungan days, around Denpasar and Serangan Island. In Southern Bali, Barong Landung is accompanied by smaller puppets which play the roles of prince and princess.
| Calon Arang Dance
|  Calon Arang Dance refers to the struggle between Rangda (Calon Arang) and the great king Airlangga. Calon Arang was a widow of Girah who gave birth to a daughter in the jungle. Her daughter grew up to be the famed beauty Ratna Menggali. Calon Arang wanted her daughter to marry a prince from Airlangga's palace. However, no prince came along. Infuriated by this, Calon Arang learned the art of black magic and practiced it against the kingdom, causing many people to die.
When the king Airlangga heard of the epidemic in Girah, he consulted his high priest, Mpu Bharadah. The priest then sent his son to propose Ratna Menggali. Calon Arang was pleased, the curse ended, and the couple wed.
Calon Arang inscribed her black magic secret on a lontar (palmleaf book). One day, her son-in-law found it and gave it to his father. When Calon Arang found out that Mpu Bharadah had learned her secrets, she was furious and declared war upon him. The priest had no choice but to fight and, in a deadly struggle, destroyed the widow by casting a spell. Before she died, Calon Arang asked forgiveness. Mpu Bharadah forgave her and showed her the way to heaven.
Before Calon Arang Dance is performed by midnight, the audiences are gathered, listening to the Calon Arang music, played by a full legong orchestra amplified with large bamboo flutes. Offerings are made earlier and consultations are held so as not to offend Rangda (Calon Arang) and to determine whether it is safe to perform the dance which begins after midnight and lasts until dawn.
| Cupak Dances
| Cupak is an old Balinese dance drama, which was originated from Kediri Kingdom of East Java. Although it is performed as a comic opera, Cupak dance is really an epic tale of jealousy, heroic actions, and betrayal.
The main character is a greedy man who has a huge belly named Cupak and his handsome younger brother, Grantang. One day, the beloved daughter of the king of Kediri, Mustikaning Daha, has been kidnapped. The king announces that whoever finds her daughter may become king. Cupak and Grantang determine to look for her.
A monkey informed the brothers that the princess is kidnapped by a witch who likes to eat flesh. Led by the monkey, Cupak and Grantang go into the dark forest.
They meet the witch and the fight follows. In the battle, Grantang, the princess, and the witch all fall into a well. Grantang defeats the witch, but just as Grantang is about to come out of the well, Cupak pulls the rope, saving the princess but letting his brave brother fall back into the well.
Cupak then goes to Kediri to tell the king how he himself killed the witch and rescued the princess. The king offers Cupak whatever he would like. Cupak of course asks for food: two mounds of rice and one suckling pig which he eats all himself.
In the meantime, Grantang manages to climb out of the well on a ladder made from the witch's bones. He meets Cupak, but Cupak refuses to recognize him and has him thrown into the sea. Grantang is saved by a fisherman who takes care of him to health. Before Cupak is about to be crowned as king, Grantang challenges him to a fight. Grantang defeats Cupak easily that leads him to wed the princess.
| Janger Dance
| Janger Dance is a folk dance which was introduced to Bali in the 30’s. The dance starts with two girl singers who appear on the stage wearing beautiful, floral crowns. They move forward, allowing another pair to enter, until twelve girls have filled on stage. Slowly, they kneel opposite each other, cocking their heads and darting their eyes to accent the rhythm of the orchestra.
As the singing continues, twelve young men silently repeat the girls' entrance with deliberate and strong movements. All men have painted moustaches and bear the self assured look of an aristocrat. During the dance, all the men move aggressively with quick shouts of "O beh! O beh! Dinga dinga ding janger-ger!" while the women sing and sway from side to side.
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Jauk Dance
| |  Jauk Dance is a classical solo mask dance dated from the 18th century, in which the dancer wears fearsome mask of the raksasa (giant) or demon. The dance played episodes from the Ramayana and Mahabharata epics in the old Kawi language.
The dancer's aim is to express the character revealed in the appearance of the mask that of a strong, forceful personality. The Jauk dancer's demonic mask is colored a violent red, or sometimes white, with thick black moustache, bulging eyes, and an eerie smile. As his whole face is covered by a frightening mask, the Jauk dancer must convey his emotions solely through his movements and gestures.
Other characteristics of the costume are gloves with long nails and high headdress with colorful pompoms and decoration. Jauk dancer's movements are very much similar to Baris dance, but the manner is more exaggerated and violent.
| Joged Dance
| The Joged dance is typically accompanied by a gamelan ensemble of bamboo instruments called a gamelan joged bumbung. The Joged Bumbung is one of the few secular dances of Bali where the flashy-dressed jogged dancer invites men from the crowd to dance with her in pretence of seduction.
The dance begins with a long opening sequence of the female dancer. With her long shawl in the hand, she goes among the spectators and invites a man by pointing at him with her fan, or touching him at the waist. The man invited to dance is called the pengibing. The better he is, the louder the cheers and roar of the crowd. He may try to pinch her, dance hip to hip with her, or behave like an upset lover and try to hit her.
| Kecak Dance
|  Kecak dance is perhaps the most stunning of all the Balinese dances. The story line of the dance is taken from the Hindu epic Ramayana that tells the story of Prince Rama and his rescue of Princess Sinta, who has been kidnapped by the evil King Rahwana. Prince Rama was able to rescue Princess Sinta with the help of the white monkey armies.
The word Kecak is derived from the "chak-chak" sounds, the chanting 'monkey' chorus. Unlike other dances, there is no gamelan orchestra accompanying it. Instead, a group of over 150 bare-chested men make an amazing synchronized chak-chak sound while swaying their bodies and waving their hands, acting as the various monkey armies that are featured in the story.
| Panyembrama
|  These dances are performed as a welcome to the visiting gods, which are presented with offerings of flowers. Nowadays, the showering of flowers is also addressed to the tourists. During the dance, the flowers are scattered over the guest or audience as an expression of welcome.
The Panyembrama has taken many of its movements from temple dances, such as the Rejang Dance, Pendet and Gabor, which are considered sacred and performed exclusively for God.
| Ramayana Dance
| A new version of Ramayana dance was introduced to Bali in mid 1970s. Accompanied by the gamelan gong orchestra, Ramayana dance is a unique combination of traditional dance technique and modern comedy.
The scene begins in the deep forest of Dandaka where Prince Rama, his wife Sita, and his brother Laksmana live peacefully in exile. One day, while hunting for deer, Sita is kidnapped by the evil Rawana. With the help of Garuda and a white monkey general named Hanuman, Prince Rama eventually rescues his wife.
Because of their ideal good looks, the characters of Rama and Laksmana are played by beautiful women. Rama wears a golden headgear while Laksmana wears a black headdress. Their dancing style is very refined and dignified as noble characters.
On the other hand, the demon king, Rawana, is arrogant and bad-tempered. His dancing style is more in keeping with a demon character. Often, it is the animals of Ramayana dance who steal the show as they have more freedoms than human character. Therefore, Hanuman is usually played by the most creative actor. Each performance of Hanuman will never be the same. | |
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| Rejang dance is a sacred temple dance which is performed as an offering to the Gods who have momentarily visited a shrine. The dance is performed by women of all ages to propitiate ancestral spirits.
The dance’s steps and gestures are simple. The dancers move slowly and deliberately to the padmasana (shrine), holding their hip sashes and twirling their fans
| Topeng (Mask) Dance
The Topeng dance is about the stories of Balinese and Javanese ancestors. The dancers have to imitate each character represented by the mask. As a ritual interval in religious ceremonies and processions, the Topeng dance ultimately takes on a sacred connotation. As a matter of fact, foreigners are allowed to see the dance only if they behave appropriately and respectfully.
Peculiar components of the Topeng dance are the masks used to hide the faces of the dancers. Specific attributes are used to identify the characters, such as: a mustache and thick eyebrows for the elder, arrogance and defiance for Patih, etc. The rhythm of movements, in accordance to the age and role of the character, is underscored by a large gamelan orchestra. |
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