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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. +
Japatwan's 'Why Legong' dance is the work of an extraordinary Balinese female choreographer Ida Ayu Wayan Arya Satyani. This work was created as a manifestation of his admiration for the creation of the Legong dance, both for the complexity of the technique or for the timelessness of the Legong dance. Japatwan dance is also a way for Dayu Ani to contemplate the process of creation that she has gone through. As well as a way to objectify her dream to exploring the body. The extent to which body exploration can be carried out, how the body respects its body and soul, navigates emotion or responds to shackles, questions about tradition or modern, ignores male or female gender, because dancing is not about gender, but is soul. The soul that appears through the body, whether he is male or female, to bring out the true character.
Japatwan was inspired by the Japatwan text geguritan which tells the adventures of Gagak Turas and Japatwan when following Ratnaningrat to Shiva Loka, Japatwan also describes the essence of literature in human life. Knowledge (jnana) that should be embodied in order to always meet good karma. The beginning of the story of the journey was the loss of Japatwan who was left by Ratnaningrat, his beloved wife "sakeng ngredani". Ratnaningrat is a grace from Dewa Indra who apparently was sent to test Japatwan's intelligence in carrying out his abilities and knowledge regarding "the entry and exit of the soul in the body, the path to kamoksan (liberation)".
In a matter of seven days after the joyous period of marriage, Ratnaningrat returned to Indraloka, supposedly to ‘ngayah ngelegong’. In the gaguritan chant, and the nuances of palegongan drum music, hopefully this simple dance gets the beauty of the story that has been poured by the writers in gaguritan texts. +
Wanting to show another way to enjoy dance, this piece was created specifically in the Art of Photography. Featuring choreographed poses that tell the story of COVID19 in Hindu theology.
Pose choreography is a photo illustration or visual depiction of a piece of writing using a photographic technique that emphasizes the relationship between the object of the photo and the text.
In Hindu theology, there is no hatred of Hyang Widhi. No curses. There is a cycle. The cycle of seasons, the cycle of flowering to fruiting, the cycle that makes life and the universe move. Hyang Widhi regulates all cycles and cosmic order through the intelligence behind the motion of this universe, called rta. Rta is the "highest consciousness" that regulates the heartbeat of the universe, the breath of humans, animals, photosynthesis of plants, until the emergence of viruses and all kinds of germs that are present as part of the completeness of the universe.
This work was first conceived by an academic dance artist named Ni Km. Ayu Anantha Putri S.SN., M.Sn who deliberately creates dance works that are enjoyed through photo collages telling stories. One person who has succeeded in realizing this work in the form of a photographic work is an academic photographer named Adhitya Pratama S.Tr.Sn, the sharp and at first glance like paintings are made to give a more artistic impression and prioritize color sharpness. This work does not only contain moving photo collages but is also accompanied by musical accompaniment which was created directly by an academic musician named Komang Srayamurtikanti S.Sn. Hopefully this work will get positive appreciation from performing arts lovers and be able to provide a new spectacle that is entertaining and inspiring.
This work was performed by 18 women with professional dancer backgrounds. This work was made directly 1 day during the shooting process only. There is no cost for costumes, only using typical Indonesian batik cloth, batik shawls and black scarves that each dancer already has. The shooting location is at Puri Painting Ubud, Gianyar, Bali. There is no training process, considering that Covid19 has severely restricted community activities. This work was initiated 1 month before the shooting process. The dancers who have supported this work have undergone a self-quarantine process from the end of March to June 2020, so the health of the dancers is of utmost priority.
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documentation on September 13, 2021 at SMA Negeri Bali Mandara, at that time we were still in the process of making lamp bases using plastic and cardboard waste. +
Praises and glorification of Mother Laksmi from the Rigveda Samhita Holy Scripture. May she bless us with wealth and prosperity. +
This dance is based on the story of two brothers, the Kings – Subali and Sugriwa, who were turned into monkeys. The two lived in peace until they both desired a black magic brought by Dewi Anjani. Dewi Anjani’s father threw this magic into a river that transforms humans into monkeys. Subali and Sugriwa not realizing this jumped into the river and were transformed into monkeys. Not recognizing each other, they fought. Neither brother won the fight but finally they recognized each other and were sad. +
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 Dance +
This dance is based on the story of two brothers, Raja – Subali and Sugriwa, who turned into monkeys. Previously Subali and Sugriwa had the names Arya Bang and Arya Kuning and a younger sister named Dewi Anjani. One day his father gave bracelets to each of Arya Bang and Arya Kuning and cupu manik (a magic mirror that can show the past, present and future) to Dewi Anjani.
They lived in peace until they both wanted cupu manik owned by Dewi Anjani. Both fight cupu manik, and snatch it by force. Seeing the incident his father became very angry with his two sons and threw cupu manik to the bottom of the lake. Finally the two sons scrambled to dive and look for the cupu bead to the bottom of the lake but ultimately failed. But what happened, after they both came out of the bottom of the pool the faces of the two sons turned into monkeys. +
