Property:Description en
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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.
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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. +
Sandaran Lelangit is an instrumental piece that is inspired by the classical style music of Banjar Intaran, Sanur. Sandaran is another name for Telek, a manifestation of God in the form of a mask that is performed on every odalan, temple ceremony. Literally, Sandaran can be interpreted as a place to lean on, while Lelangit is a term to mention the ancestors worshiped by the Balinese. Sandaran Lelangit has the meaning of a place for the ancestors to 'lean' during the ceremony.
In a musical context, this work tries to present a magical and aesthetic atmosphere at the arrival of the ancestors during the ceremony. The strains of classical melodies with the typical ornamentation of the classical Sandaran melody are the main choice. Sandaran Lelangit is a re-interpretation and re-format of classical musical instruments that developed in Sanur, Bali. +
