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Belibis dance is a new dance creation from Bali which is included in the group dance category, because it involves more than three dancers. This dance was created in 1984, the choreography was done by N.L.N Swasti Wijaya Bandem and the music was composed by I Nyoman Windha.
This dance functions as an entertainment dance that emphasizes the artistic aspect, choreography, and is presented with a clear theme and purpose. In accordance with the title of the dance, this dance depicts the beauty of a group of grouse birds enjoying the natural surroundings.
Meanwhile, the theme takes the story of Anglingdharma. The story in the Tantri story, mentions that the king of Anglingdharma was cursed to become a grouse by his powerful wife.
It is said that the king of Anglingdharma who has turned into a grouse wanders and meets a group of other grouse. Feeling attracted by the cheerful atmosphere of the grouse group, he tried to join in order to be accepted as part of the group.
Unfortunately, because the bird (Anglingdharma) is able to talk like a human, the other birds then know that he is a cursed human, so they reject him. The flock of birds went and left the king in solitude. +
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. +
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. +
Jaran Teji dance is a dance that combines dance depicting male and female impersonation daughter Dewi Sekar Taji with a companion when Raden Inu wander looking for his girlfriend who disappeared from Kerta Pati palace. Dewi Sekar Taji together companion posing as a valiant horseman and nobody could recognize them dressed men. Jaran Teji dance that mimicked the movement of animals is characterized by a horse. I Wayan Dibia creator in 1985, he made this dance inspired Sanghyang Jaran sacred dance. Sanghyang Jaran motions then combined with classical dance movements of Bali and Java. +
Dadu Kreasi Dance was created by I Nyoman Cerita in 2015 and performed by Gamelan Wanita Sanggar Seni udamani as the Gianyar Regency Ambassador at the 37th Bali Arts Festival.
This dance tells about the legendary dice game taken from the story of the Mahabharata. Duryodhana, masterminded by his uncle Patih Sangkuni, managed to hold a dice game with the Pandavas. This gambling game was filled with the cunning and ingenuity of Arya Shakuni, and King Yudhisthira responded by risking his younger siblings, the country and all his wealth even his wife Dewi Drupadi. In the end everything was won by Duryodhana and Yudhisthira in his regret of losing everything.
Dewi Drupadi who was made a bet without her knowledge, then humiliated and almost stripped in public. But with Krisna's help, Drupadi was not able to be stripped naked, Drupadi in her anger then cursed everyone present in the game, Drupadi sued the ego, power, greed of men who too often abuse women's dignity. +
“Laku”: the active behaviors of a person; direction indicative of demand. It also describes the aura of availability. This is a new piece composed as a welcome dance embodying the idea of behavioral changes. The movements simultaneously follow and depart from the musical sensibilities, but unlike traditional “penyambutan” dances which tend to be in compact motion, within Lelaku, dynamic and asymmetrical movements become normal. As the popularity of travel becomes normalized, how do the behaviors of humans change? How do we welcome people that seem to be intruding our space? Does humanity change in in tandem with what resources are available? The answer lies within the juxtaposition of co-motion. +
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. +
Nelayan dance was created by I Ketut Merdana in the village of Kedisan, Buleleng in 1960. As the name implies, the movements presented are adopted from the movements of Balinese fishermen in carrying out fishing activities. +
The Tamulilingan Ngisep Sari is a duet dance created by I Ketut Mario in 1952 in Peliatan Village. He is a Balinese dance maestro who is famous for his extraordinary dance work. Mario invited I Wayan Sukra, a percussionist from Marga Village, Tabanan to compose his musical accompaniment. In addition, three percussion experts from Gong Peliatan were also involved in working on the music, namely Gusti Kompyang, A.A Gde Mandera, and I Wayan Lebah.
The interdependence of life inspires this dance where the beauty of the flower attracts the bee to collect nectar and in return pollinate the flowers. The relationship is completely symbiotic each nurturing the other in a gentle cycle filled with love and care. This rarely performed version has its home in the Peliatan region of Bali. Taught to Sanggar Çudamani in 2015 by the original dancer of the piece late Ni Gusti Ayu Raka Rasmi who, in her 70s, is still a stunning performer and dedicated teacher. +
