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Wayang Wong Tejakula + (Wayang Wong in Tejakula Village, Buleleng … Wayang Wong in Tejakula Village, Buleleng has received UNESCO recognition as an intangible cultural heritage. Wayang Wong is an ancient mask art dating back to the Middle Ages. In Tejakula itself, the Wayang Wong standard uses Ramayana characters. There is also another kind of wayang wong called Wayang Parwa.Wayang Wong art in Tejakula Village is a sacred art which is only performed at certain times. These Wayang Wong masks are masks over three centuries old, totaling 175 masks. All the masks are kept at Pamaksan Temple, Tejakula.Whenever there is a temple ceremony at Kahyangan Tiga Temples, Pamaksan Temple, Ratu Gede Sambangan Temple and Pura Dangka Temple (several ancient temples in Tejakula), this Wayang Wong Mask dance will be performed. Wayang Wong dancers are chosen from generation to generation based on lineage.You can also watch this Wayang Wong performance outside of holy days. However, the masks used in this performance are duplicate masks, not the original, purified masks.This Wayang Wong performance is usually held on Galungan Day or on the day of the local temple ceremony. At that time, the nomads usually returned to their hometowns so that the performance of this sacred Wayang Wong will be watched by many people. Because this performance is a combination of medieval Parwa and Gambuh arts, the languages used are Kawi and Sanskrit. the languages used are Kawi and Sanskrit.)
Wiranjaya + (Wiranjaya dance was created by I Putu Sumi … Wiranjaya dance was created by I Putu Sumiasa, an artist from West Bali in 1957. Wiranjaya dance is an androgynous/bebancihan dance created as a competitor to Truna Jaya dance. Before 1965 this dance was called Kebyar Buleleng Dauh Njung, the beginning of this dance was created because the artist Pan Wandres had already created Kebyar Buleleng Dangin Njung, namely Terunajaya. These two works are a form of competition by two great Buleleng artists.But after 1965, this dance was developed again by Putu Sumiasa and renamed Wiranjaya. The Wiranjaya dance tells the story of two sons of Pandu, Nakula and Sahadewa from the epic Mahabharata who are learning archery at the Pasraman led by Bhagawan Tamba Petra.The development of Wiranjaya dance is very rapid because this dance is very energetic with beautiful dynamic movements that make dancers or art lovers really appreciate Wiranjaya dance. lovers really appreciate Wiranjaya dance.)
Átmanà Shanti (Music Performance) + (Átmanà Shanti is a dance music composition … Átmanà Shanti is a dance music composition, composed by I Wayan Arya Bisma from Pujung Kelod, Sebatu, Gianyar who is currently studying at the Indonesian Art Institute in Denpasar. "Átmanà" means by mind and "Shanti" means peace. In the context of welcoming dance music, "Átmanà Shanti" is defined as "greeted by a peaceful mind". The main idea of this work is the nature of the human mind that are changes over time. This idea then transformed into the processing of changing song patets (gending kecag kecog), as well as the song duration for each part that was uncertain.This musical composition uses the Tri Angga structure, namely: Kawitan, Pengawak and Pengecet, but in each section it is divided into several more sub-sections. In each section there is a gending penyalit or transition, which is a road or bridge to achieve the goal.Music Composition Structure :1. Kawitan (beginning) a. The composition started with pengalian section which is begins with the riyong instrument playing and continues with all the instruments. By playing several types of patets, such as: Pengeter Agung, Sunaren and Selendro Agung.b. In the pepeson section there are two parts, namely: part A and part B, and the composition is A-A-penyalit-B-B. In part A uses the patet Selendro Agung , and in this section there are terompong instruments patterns such as ngembat and nyilih asih, but it played on the riyong instrument. After that continue to the shorter penyalit section, using the patet Sunaren, Tembung and Pengeter Agung.2. Penyalit section is the connecting part between the kawitan and the pengawak section. In this penyalit section using the kebyar pattern with patet Pengeter Agung and at the end there is a modulation to the patet Selendro Alit.3. Pengawak section is a simplification of the Legod Bawa form taken from gending pelegongan. In this section highlighted the flute instrument and also uses patet Selendro Alit and at the end there is a modulation to the Sunaren patet.4. Penyalit, in this penyalit part it is the bridge between the pengawak part and the pengecet. This section uses the form of pengetog compositions, which are developed with an arbitrary count. This section uses patet Sunaren and patet Pengeter Agung.5. Pengecet section is divided into 3 parts, namely: part A, B and pekaad section. Composed with the pattern A-penyalit-B-penyalit-A-peyalit-B-penyalit-pekaad (ending). Part A adopts the nyong-nyong instrument pattern from the Barungan Gamelan Selonding, with a simple melody and uses patet Pengeter Agung, then continues with the penyalit to get to part B which still uses patet Pengeter Agung. This part highlighted the dynamics of the gangsa and kantilan instruments. The riyong, penyacah and calung instruments adorn it with the same gending pattern. Part B uses patet Sunaren, then followed by penyalit that are using patet Sunaren and Tembung. And the ending or pekaad part uses the kebyar pattern with Patet Pengeter Agung and Selendro Alit. And then in the very last part of the composition, there is a Leluangan drums pattern.The musical composition of this welcoming dance is played in the Gamelan Semarandana. Gamelan Semarandana is a combination of Gamelan Gong Kebyar and Gamelan Semar Pagulingan, which was created by I Wayan Beratha in 1987. The use of Semarandana gamelan is because it has a wider range of tones and octaves, making it possible to be more creative and flexible in composing the song. The creation of this dance music composition "Átmanà Shanti" was supported by Sanggar Seni Çudamani and the Sekaa Suling Semeton Nika Manu.ni and the Sekaa Suling Semeton Nika Manu.)

Purna Sasi + (Purna Sasi is a song written in Kawi (old Javanese) language. Purna sasi means "perfect moon" and it contains beautiful praises to the soothing luminary of a full moon day.)

Geguntangan Arja + ("Arja" refers to a distinctive kind of Bal … "Arja" refers to a distinctive kind of Balinese dance theater centered around song, while "geguntangan" means "gamelan which uses guntang." Guntang is a kind of bamboo harp whose strings are made of the outer skin of the bamboo which are cut into long and thin pieces and stretches like strings. Geguntangan Arja music uses two sizes of guntang: large and small. An interesting point about Arja is that it is an entertainment theater for ordinary people that is rarely, if ever, performed for tourists. Although typically Balinese, this music differs greatly from what we normally hear, especially with the use of the guntang and the extensive use of the suling, the Balinese bamboo flute. As well, the singing style is the most unusual. A discovery for Balinese music fansusual. A discovery for Balinese music fans)
Tari Manuk Rawa + (At first, the Manuk Rawa Dance was part of … At first, the Manuk Rawa Dance was part of the Mahabharata Bale Gala-Gala Ballet. The work itself is a work made by the Mahabharata or Ramayana ballet group from the province of Bali and has been shown at the Bali Arts Festival in 1980.As time goes by, the dance is increasingly developing into a free dance that is no longer part of the ballet. The artists and dancers also began to modify this dance movement to be more interesting by combining several movements from dances typical of the Sundanese and Javanese regions.Manuk Rawa dance has a unique philosophical meaning. This dance describes the behavior of manuk or in Indonesian means birds that live and fly around areas full of water or swamps.The story of this bird is taken from the story of Wana Parwa from the Mahabharata Epic, and is famous for its luxurious and distinctive storytelling style. Manuk in the story is illustrated as a cheerful and fun animal. Because of the cheerful nature of the dance, this dance is then more often danced by a group of children or young women.Its movements imitate the movements of birds flying, and jumping in the swamp. This dance also has a distinctive movement of the neck, the dancer will move the neck like nodding, imitating the movement of a bird's head. The dancer's leg movements are also very agile, jumping here and there with an expression full of firm eye movements.This dance costume is also characterized, the dancer will wear a kind of cloth in the form of a wing that is installed around the dancer's shoulder. The costumes also wear bright colors and headdresses or called gelungan in the shape of a bird's head. Until now this dance is still often performed at various events and competitions.formed at various events and competitions.)
Barong Brutuk + (Barong Brutuk is the embodiment of Bhatara … Barong Brutuk is the embodiment of Bhatara Ratu Pancaring Jagat in Trunyan village of which there are 21 people. The faces of the barongs resemble primitive masked faces with large white or brown eyes and are thought to be relics of pre-Hindu culture. Barong Brutuk is danced by male dancers taken from members of the truna sekaa in Trunyan village. Before dancing the sacred barongs, the cadets must go through a process of sacralization for 42 days. They lived in the vicinity of Bhatara Datonta and every day was tasked with cleaning the temple grounds and learning an ancient song called Kidung. During the sacralization process, the cadets were forbidden to have contact with the women in their village.Another activity carried out during the purification process is collecting banana leaves from Pinggan village which are used as clothing for the Brutuk dance. The banana leaves are dried and then knitted with peeled rope (banana tree) into a kind of skirt that will be used by Brutuk dancers. Each dancer uses two or three sets of clothing made of banana leaves, some of which are hung around the waist and partly on the shoulders, under the neck. Brutuk dancers use panties which are also made from banana tree rope.The Barong Brutuk performance is staged at noon just as the Odalan Day begins at Ratu Pancering Jagat Temple. Usually the Brutuk ceremony lasts for 3 days in a row starting at 12.00 noon and ending around 17.00 pm. The Brutuk dancers wear dried banana leaves and headdresses made of coconut leaves; One serves as King Brutuk, one functions as the Queen, one functions as Patih, one serves as the Queen's older brother, and the rest are regular members. The Brutuk dance illustrates the concept of a dichotomy in the life of the Trunyan community, namely two groups of people, men and women.The Brutuk ceremony begins with the appearance of member-level embodiments. They circled the temple walls three times each while waving whips to the audience participating in the ceremony. The audience attending the ceremony began to approach the Brutuk dancers to pick up the loose banana leaves which they would use as a means of fertility. The spectators who managed to get the banana leaves from Brutuk's clothes would keep them at home and then spread them out in the rice fields when they started planting rice. They expect a successful harvest.The last stage of the ritual performance begins in the evening, led by a pemangku (holy man), the women bring new offerings to be presented to the King and Queen Brutuk. When the offerings have been offered, the King and Queen dance together, while the other Brutuks and the audience just watch. A pair of Kings and Queens dance an ancient move, which imitates the behavior of a wild partridge. The King as keker (rooster) and the Queen dances as kiuh (hen). There are many wild partridges in the area around Trunyan. They pop their heads, swoop, peck and move their hips, claw at the ground and make sudden attacks on each other while flapping their wings. Movements such as cock fighting or flying. At the time of sandya kala, the dancers walk down to Lake Batur. Brutuk men with red masks, take a position by lining up behind the King, while masked dancers women line up opposite them, behind the Queen. The love dance of the King and Queen continued for about half an hour, while the male and female Brutuks continued to line up. Only the Patih and the brother of the Queen Brutuk remained active, they continuously whipped their whips at the audience.The dance of the King and Queen Brutuk ends with the movement of the Queen flying and crossing a line marked with a banner. All Brutuk then cheered when the King flew trying to pounce on the Queen. The King immediately caught him and embraced the Queen. At that moment the youths who became Brutuk, cheered in unison, as they ran into the water and threw themselves. There they stripped the remnants of the banana leaves that became their clothes, swam and had fun unwinding. Their costumes were left afloat, while their masks were picked up by older members of the tribe who descended to the shore of the lake to provide assistance. After that the dancers and the audience separated for dinner after all the celebratory activities were over. all the celebratory activities were over.)
Tari Gabor + (Gabor dance is one of the traditional Bali … Gabor dance is one of the traditional Balinese dances which is still often performed as a welcoming dance. This dance was created in 1969 by dance maestro I Gusti Raka from Saba. Gabor dance has many similarities with the Pendet Dance, starting from the origin of the dance which was originally created as a sacred dance until now it has turned into a profane dance as a welcoming dance. . What distinguishes these two dances is the variety of motion. In Gabor Dance, more movements are taken from ceremonial dances, such as the Rejang Dance.At first, Gabor Dance was only intended for religious ceremonies, namely to describe welcoming the descending of the gods, but now this dance is often performed in various events because its function has changed as an entertainment dance or the term is called Balih-Balihan Dance. According to the classification of dance types, Gabor Dance is included in the type of modern dance creations. This dance will usually be danced by a group of women or young women wearing brightly colored costumes. Each dancer will bring a bowl full of flowers as a property. The dance movements and patterns of the dance floor are adjusted to the creations of each trainer or from the agreement of the dancers so that they look neat and beautiful. At the end of the dance, the dancers will sprinkle flowers towards the audience as a symbol of welcome.wards the audience as a symbol of welcome.)
Tari Cilinaya + (In Balinese tradition, Cili is a symbol of … In Balinese tradition, Cili is a symbol of beauty. This dance depicts a group of beautiful women with graceful movements, dancing with joy to show their beauty. In contrast to many other Balinese dances that highlight the sharpness of the eye, this dance is performed cheerfully and full of smiles. This dance also emphasizes the graceful side of the movements of the dancers. Inspired by the "cili" ornament found in Balinese lamak which is used when there are traditional or religious ceremonies. This dance was created by I Wayan Dibia for Sekaa Gong Putra Kencana Singapadu-Gianyar in 1986.g Putra Kencana Singapadu-Gianyar in 1986.)
Legong Kuntul + (Legong Kuntul belongs to the nondramatic L … Legong Kuntul belongs to the nondramatic Legong type which describes the elegance and beauty of the crane in the middle of the rice fields. The movements are beautiful and classic, trying to imitate the movements of a crane and performed gracefully by the dancers.e and performed gracefully by the dancers.)
Tari Panyembrama + (Panyembrama is a welcoming dance that is s … Panyembrama is a welcoming dance that is still known today. This dance is also often the basic dance and the very first dance that is learned by children who are just starting to practice Balinese dance. Panyembrama comes from the word sambrama which means welcome, this dance is performed when there are official events to welcome guests, and is also often performed during ritual ceremonies. At first this dance was a complementary dance offering before the Sanghyang or Rejang Dance which was performed at a temple in Bali. At first glance, the Panyembrama dance looks similar to the Gabor Dance and Pendet Dance, but what distinguishes it is the variety and variety of movements. Panyembrama dance also uses the bokoran property which contains various kinds of flowers and oncer (coconut leaves shaped in such a way that it looks beautiful and artistic). This flower will be sprinkled in front of guests and spectators as a symbol of welcome. This dance was created by the late. I Nyoman Kaler and musical composition by the late. I Wayan Beratha in the early 70s and was first shown in 1971.the early 70s and was first shown in 1971.)
Laksmi Puja + (Praises and glorification of Mother Laksmi from the Rigveda Samhita Holy Scripture. May she bless us with wealth and prosperity.)
Purna Sasi +
SU3LIM + (SU3LIM (read: sublime) is a musical compos … SU3LIM (read: sublime) is a musical composition by I Putu Swaryandana Ichi Oka, a musician and composer from Banjar Pande, Sayan, Ubud, Gianyar. Currently Ryan (composer's nickname) is pursuing a Master's degree at the Indonesian Art Institute, Denpasar.SU3LIM takes the meaning of the word 'sublimes' which indicates the meaning of change. In terms of musical composition, composer refers to a change in the perspective on the function and aesthetics of Balinese gamelan instruments. In addition, the word SU3LIM in this musical composition consists of two syllables "Sub" and "lim" which stands for Subdivision Five which dominates the dimensions in this musical work. The use of the number 3 instead of the letter "B" in the word SU3LIM, is a sign that there are 3 functions of gamelan instruments used in this musical composition, namely; Jegog as a melodic line marker; Ugal as a marker (controller) gending; Gangsa as isen isen, which is worked into a single unit in its function of playing song patterns that have been arranged in a systematic and structured manner.ged in a systematic and structured manner.)
Tari Sekar Jepun + (Sekar Jepun dance is a dance icon from Bad … Sekar Jepun dance is a dance icon from Badung Regency, Bali. The Japanese Sekar dance was composed by Ida Ayu Wimba Ruspawati, SST., M.Sn and the musical composition was composed by I Wayan Widia, S.Skar. Sekar Jepun dance tells about the beauty of Jepun or frangipani flowers with various shades of colors and shapes.The Jepun flower is one type of flower that is very important for the Balinese because it is widely used as a means of ceremonies and as a means of prayer for Hindus. Jepun flowers have a fragrant aroma and have a variety of colors, ranging from white, red, purple and yellow. In Bali this tree can be found in every Balinese house, often decorating the streets of villages and cities. In Badung Regency itself, Jepun trees are very easy to find along the road, when this tree blooms the beauty of this area will appear, that is the reason Sekar Jepun is made the mascot of Badung Regency.epun is made the mascot of Badung Regency.)
Speech Delay (Music Performance) + (Speech Delay is a musical composition by a … Speech Delay is a musical composition by a Balinese female composer named Ni Nyoman Srayamurtikanti. Mang Sraya (the composer's nickname), a graduate of the Indonesian Art Institute in Denpasar, who is currently pursuing a Master's degree at the Indonesian Art Institute in Surakarta, has created many creative music works that still adhere to the foundation of traditional music. Speech Delay is a general term that refers to the process of speech and language delay that is incompatible for the child's development. One of Mang Sraya's sisters experienced a speech delay, but despite having speech and language delays, she has a very sharp memory and a strong imagination. This personal experience then inspired Mang Sraya and interpreted it into creative musical composition works.This work uses the ensemble Gender Wayang. The musical work system carried out in this work is based on several impacts that cause and are caused by speech delay associated with the textual work, that are:1. Speech articulation disorders are interpreted by the use of the gender wayang’s mallet handle in this composition work. In general, the gender wayang repertoire does not use the mallet’s handle to hit the blades.2. Receptive (input) and expressive (output) language disorders are interpreted by the relay system or rotating. In general the gender wayang’s musical system is performed simultaneously by all instruments. However, this work uses a rotating system.3. Have a strong imagination interpreted by using many different melodies on each instrument. This is different from the gender wayang repertoire system, which in general has one melody with polos (on beat melody) and sangsih (off beat melody) ornaments.In this work, the composer divides the composition into four parts. Each section represents the textual ideas and concepts that are made, namely:1. In the first part, the composer uses a gender wayang’s mallet handle hips. The initial part starts with Kantilan 1 by hitting several short melodies that are repeated several times. Then the Kantilan 1 player hits a note on the Pemade 1 instrument which is meant to give action to the next player. Player 1 responds by playing several short melodies that are different in response to the action given by the previous player.2. In the second part using a medium tempo. There is a melody division between kantilan and pemade. Kantilan plays 2 notes alternating at a fast pace and different sizes. In between these melodies, pemade provides an accent as a marker or explanation for the melody of the performance. Then proceed with a melody totaling 8 beats with a sequential progression of notes back and forth, each of which has a different tone arrangement. The melodies are played relay or alternately.3. In the third part, the tempo is slower and gradually accelerates. In this section the composers make a melody that is the same as each other by emphasizing the dynamics of each instrument. Then proceed with the imitation of one of the gender wayang repertoires, namely: angkat-angkatan. Gending angkat-angkatan on gender wayang is one type of gender wayang repertoire which is interpreted or often used as a wayang companion when walking towards the battlefield. In this type of gending has 2 different melodies which are played by the right hand and the left hand. The melody on the left hand usually consists of 4 beats that are repeated from beginning to end while the melody on the right hand is more agile and varies in pitch progression. In this case, each instrument has a different melody but is tied to one another or is called polyphony.4. In the fourth part, using a polymmetric technique where each instrument has a different size bar. Kantilan 1 uses the beat 5/4, pemade 1 uses the beat 10/4, kantilan 2 uses the beat ¾ and pemade 2 uses the beat 6/4. In 1 lap, all the instruments will meet on beat 30. Each instrument has a different song sentence but on beat 20, the instruments will be brought together in almost the same rhythm. Then as a closing there is a kebyar with a different tone arrangement between kantilan and pemade.Speech Delay's work has been staged at the Ancient Creative Music festival in 2020. Mang Sraya's other musical works can be heard and watched on her YouTube channel: Sraya Murtikanti. on her YouTube channel: Sraya Murtikanti.)
Swasti Prapta + (Swasti Prapta is a dance piece created by … Swasti Prapta is a dance piece created by choreographer Dewa Ayu Eka Putri from Banjar Pengosekan, Mas Village, Ubud with composer I Putu Swaryandana Ichi Oka from Banjar Sayan, Ubud, Gianyar. This dance piece was created in 2018 and was first performed at the Cudamani Festival which is held annually from 2016.Swasti means "peaceful" and prapta means "arrival". The piece is an expression of welcome, and was created to welcome and bring joy to goodness from all directions. The movements are simple, but filled with meaning, a quality one needs as one faces lifes many different experiences. The harmonious and dynamic melodic arrangement indicate our readiness and alertness to receive new experiences. Symmetrical and asymmetrical are side by side, and of course, goodness does not always stem from the positive. Good things and important lessons can come from experiences that are painful and difficult. Swasti Prapta, welcome all experiences.t. Swasti Prapta, welcome all experiences.)
Tabuh Kebyar Ding + (Tabuh Kebyar Ding is an old pre-independen … Tabuh Kebyar Ding is an old pre-independence music creation, which was created around 1925 by musician and composer I Made Regog in Belaluan, Denpasar. This percussion has a very important role historically and has a complex composition, full of dynamics, rich in ornamentation and played at a fast tempo. ornamentation and played at a fast tempo.)
Tabuh Bebarongan Kepahingan + (Tabuh Kepahingan is a musical composition … Tabuh Kepahingan is a musical composition made by Ida Bagus Anom Mandhara Giri (often called Gus Anom) who comes from Kendran Village, Tegallalang. Gus Anom is a graduate of the Institut Hindu Dharma Negeri Denpasar who is very active in artistic activities as a musician and composer. Kepahingan is a combination of the meanings of the words kepah and ingan. Kepahingan means doing something together or also known as gotong royong (mutual cooperation). In Bali, gotong royong has been cultivated in such a way since a long time ago and has become an irreplaceable foundation of life.This bebarogan music work was created in 2014 based on the desire to unite and work together between Daha Truna Kendran and Kepitu to become one unit in the Sekaa Truna Desa Adat Kendran. Musically, this bebarongan work has a simple rhythmic pattern, depicting the sincerity and simplicity of the desire of young people to unite so that the foundation of life of kepahingan or gotong royong (mutual cooperation) can be maintained. The main purpose of cultivating this music is "ngayah" or a sincere offering without ulterior motives. The simple strains of musical melodies that are easy to hear and understand also illustrate how beautiful the sense of unity is in the implementation of the concept of kepahingan.In 2020, tabuh Kepahingan bebarongan was staged again as a reminder to Sekaa Gong Gurnita Sari of their enthusiasm and desire to unite in one organization, Daha Truna Kendran and Kepitu.ganization, Daha Truna Kendran and Kepitu.)
Tabuh Lemayung + (Tabuh Lemayung was created by I Dewa Putu … Tabuh Lemayung was created by I Dewa Putu Berata, a traditional music composer whose abilities are well known globally. Currently he is the chairman of Sanggar Seni Cudamani, a non-profit arts foundation located in Banjar Pengosekan, Mas Village, Ubud which has a mission to preserve, preserve and reconstruct ancient music and dances that are almost forgotten and create many new works of art which are innovative both in the field of Balinese music and dance. Tabuh Lemayung is one of Dewa Berata's works that has received tremendous appreciation from both Balinese and foreign musicians.Lemayung was created by Dewa Berata during the 2004 General Election period. The inspiration for this work stemmed from political parties in the general election attempting to attract people's sympathy. A campaign full of promises and interests confused people, giving birth to the term "Lemayung" which has the meaning of 'uncertain feelings'. Lemayung then poured into the language of music with the parable of "little people" expressed in the weak rhythm and the ruler in a strong rhythm. All forms of differences and promises are transformed into melodies and dynamics of music that are beautiful and pleasant to hear as if to seduce and win the sympathy of the little people. But those who are observant and understanding will not be easily swayed by promises. Lemayung's musical compositions also narrate the spirit of honesty and foresight in choosing the best through out-of-the-box melodies and musical concepts.-of-the-box melodies and musical concepts.)
Tari Tani + (Tari Tani Bali (Farming Dance) is created … Tari Tani Bali (Farming Dance) is created by I Wayan Beratha in 1957. This dance emerges along with the Tari Tenun (Weaving Dance) and Tari Nelayan (Fishing Dance) in the era of 1950s. Tani dance showing the everyday life of Balinese, particularly the work or activities of farmer in Bali.Tani dance usually performed in groups by male and female dancers. The movements in this dance depict the activities of farmers from preparing the land, plant the seeds, up to take care of their plants. This dance is indeed present a beautiful and elegant movements.During the era of the 1960s, the three dances (tani / farming, weaving, and fishing) emerged due to the influence of socialism and become a standard at that time. Then in 1965, the political situation is unstable and the third this dance immediately lost favor.After all, these three dances remain a distinct marker of a crucial time in Indonesia's modern history and today are performed simply for their aesthetic purposes.Costumes and makeup plays an important role in the performing arts. The harmony and beauty of color will further enhance the look of the dance during performances.Male. In Tani (farming dance), male dancers using costumes such as: headdress (udeng), badong, tutup dada, sabuk stagen, gelang kana, ampok-ampok and kamen (sarong) with prada motif.Female. While the female dancers use "Lelunakan" or head-cloth at the top. Lelunakan is the development of "tengkuluk", in the form of shawl by decorative motifs.On the top, lelunakan shawl wraps the hair, is formed in such a way, adorned with gonjer (golden flowers), sandat flowers and red flowers.On the bottom, female dancers use tapih, kamen (sarong), and sabuk stagen bandaged from the waist to the chest. On the outside is wrapped by colored scarf with decorative motifs of prada.red scarf with decorative motifs of prada.)
Kebyar Duduk + (The Kebyar Duduk dance, created by dance m … The Kebyar Duduk dance, created by dance maestro I Ketut Mario in 1925, is one of the most technically challenging dances of the Balinese repertoire, the movements are inspired by nature and connect the dancer to the Earth. Imbued with elements of great refinement, precision and strength, the dance is a reflection of our own human path seeking a balance between masculine/feminine; strength/softness; bravery/caution. The ability of the solo dancer to match and augment the powerful music of the full gamelan is one of the most demanding and impressive aspects of this dance.ding and impressive aspects of this dance.)
Tari Puspa Wresti + (The Puspawresti dance was created by chore … The Puspawresti dance was created by choreographer I Wayan Dibia and the music by I Nyoman Windha, both Balinese artists who have created many amazing dances and musical compositions. Puspawresti dance is a dance that is inspired by the pependetan dance in temples in the Bali Region.Puspawresti dance which comes from the words Puspa which means flower and wresti which means rain, was created following the movements of the Pendet, Gabor, Rejang and Baris Gede dances. Usually danced by 4 female dancers and 4 male dancers. The female dancers carry bowls filled with colorful flowers, which are escorted by male dancers carrying spears. escorted by male dancers carrying spears.)
Rejang Pala + (The Rejang Pala dance is an ancient dance … The Rejang Pala dance is an ancient dance that was created in Nongan Village, Rendang District, Karangasem Regency, has undergone two reconstructions in 1984 and 2019. In 2019 the local village carried out a reconstruction which refers to the results of a study entitled Continuity and Changes in Rejang Balang Tamak Dance in Nongan Village , Rendang District, Karangasem Regency, 2017. In addition to referring to ancient lontar palms stored in Leiden, the Netherlands, it also refers to the instructions of Ida Pedanda Istri Ratna Kania from Griya Budha Alang Kajeng, that she remembers danced the rejang with various fruit decorations on her head. The Rejang Pala dance is a sacred dance in the Usaba Desa ceremony, to welcome Ida Betara Dalem to a ‘memasar’ procession at Pura Pesamuhan Agung. The dancers are divided into three age classifications, namely: (1) children are called Rejang Alit; (2) young women are called Rejang Daha; and (3) Mothers are called Rejang Lingsir. The primary function of the Rejang Pala Dance is as a medium of ritual, as well as a medium of personal entertainment, and as an aesthetic presentation. Its secondary function, as a binder of solidarity and as a means of communication. The uniqueness of the Rejang Pala Dance can be seen in its headdress, which is decorated with various kinds of fruits.The symbol of the fruit on the head is remembering the history where the children of Ida Bhatara Balang Tamak were working in the fields and they always had lots of fruit tied on their heads. Ida Bhatara Balang Tamak is revered by the local community as a pioneer figure in Subak Abian and an intelligent figure who was feared by ancient kings. He was also a figure who opposed the feudal system which was detrimental to society at that time. Perhaps because of this, some historical versions depict him as an antagonist because of political interests. With the return of the Rejang Pala at the Balang Tamak Temple, apart from being a reconstruction of ancient dances of ancestral heritage, it is also a form of revision of the history of great figures on the ancient island of Bali.eat figures on the ancient island of Bali.)
Legong Keraton Lasem + (The name Legong comes from the Balinese la … The name Legong comes from the Balinese language, Leg (flexible movement) and gong (gamelan) which blend into Legong which means flexible movements accompanied by gamelan.The Legong Keraton dance emerged around the early 19th century AD. This dance emerged from the idea of a King Sukawati named I Dewa Agung Made Karna.Initially this dance is sacred. This dance is only performed in temples to accompany Hindu religious ceremonies. In 1928, the King allowed this dance to be performed outside the palace for the people to enjoy.In 1931 this dance began to be displayed widely to support tourism. Many hotels in Bali stage this dance to entertain tourists.One of the palaces that owns and maintains the Legong Keraton dance is Puri Agung Peliatan. This palace used to often perform the Legong Keraton dance on certain occasions, such as Hindu religious ceremonies.A Legong Keraton performance always carries historical stories. One of the most popular stories is Lasem, which tells the love story of Prabu Lasem to Princess Rankesari.The dancer who appeared first was the Condong (emban) who wore a dominant red costume. Then followed by two Legong dancers who wore green costumes.In the story of Prabu Lasem, which is based on the Panji/Malat story, the two Legongs play Prabu Lasem and Princess Langkesari, respectively.The Legong Keraton Dance was designated as an intangible world cultural heritage by The United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2015. The Legong Keraton Dance is one of nine Balinese dances that received similar awards in addition to the Barong Ket Dance, Rejang Dance, Dance Joged Bumbung, Wayang Wong Dance Drama, Gambuh Dance Drama, Sidha Karya Mask, Ceremonial Bari Dance and Sang Hyang Dedari Danceial Bari Dance and Sang Hyang Dedari Dance)
Janger Dance + (This is a very popular dance in the villag … This is a very popular dance in the villages whose origins go back to the 1930’s. Also called the Love dance, it is performed by 10 young (unmarried) couples, and involves singing and dancing to the Gamelon and flirtatious movements. Janger means infatuation, so the young ladies and men flirt with each other during the dance creating a happy, fun and sometimes humorous connection.The performers had practised this dance in Pesalakan village , a traditional village about 15 minutes from Ubud centre, for many months before, as many had never danced before.So this was a revival of the culture through dance which is so important to witness with the many modern influencers impacting culture on the island of the gods.One of the main aims of the Togetherness Project is to preserve and revive the culture among the younger generation, and this dance is a wonderful example of togetherness, as it brought the youth together to practise and express their culture.her to practise and express their culture.)
Musik Puisi Suryak Siu + (This poetry music is titled Suryak Siu whi … This poetry music is titled Suryak Siu which is performed by group of young people from the Sastra Lentera Community.Lead by Ida Bagus Pawanasuta, this community succeeded in performing a very beautiful musical poetry.Singed by Sinta and Dayu Tri and musical instruments played by Ryan and Tjok Mas, their performances greatly entertained everyone in the midst of the Covid-19 pandemic.one in the midst of the Covid-19 pandemic.)
Morning Happiness + (Track from the Rhythm of Paradise album. T … Track from the Rhythm of Paradise album. This track is the most famous title by Gus Teja played in shops, restaurants and spas all over Bali. In April 2020 Gus Teja challenged his followers to record their version of this song : https://www.facebook.com/268366302583/posts/10157202460987584/.com/268366302583/posts/10157202460987584/)
Tabuh Wak Jayati + (Wak Jayati was created by composer I Dewa … Wak Jayati was created by composer I Dewa Putu Rai from Pengosekan Village, Ubud. Wak Jayati comes from the ancient Javanese language Wak which means voice or sound and Jayati means women's victory. This percussion is inspired by the strength, determination and beauty of women. This musical composition aims to describe the deeper meaning of women, as creators, leaders, and protectors.men, as creators, leaders, and protectors.)