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Bali Echo Millenium edition

No.044/VIII - January 2000

cover story
Bali Beyond 2000
Bali Tourism in the New Millenium

Millenium Surprises
Welcoming Garuda Wisnu Kencana (GWK)

Garuda Wisnu
The Garuda Wisnu Kencana (GWK) Take Off

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The Don Quoxites of Peliatan Palace
A story of crucial supporting arts in Bali

Lombok echo
A Region in Transition
Lombok in the New Millenium

Private Islands
The Legend of Three Islands

Lombok Update

regular
Prospectives
Predicting the Future

Flashback
Keep the Faith

Flashback
Evolving Dances

Postcard
Religious Duty

Book
Universal Balinese Artist

Food
21th Century Tradition and Inovation in Food

Environment Action
Protecting the Environment

Fiction
B  a  l  i

Jungle Drums

Bali Sing KenKen


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Bali Echo Visitor Guide

Evolving Dances

After evolving gradually for hundreds of years, Balinese dances have recently been through a significant transformation. Achmad Yani Bulle looks at the three social levels of dances that are currently reaching into the future.

Balinese dances now have world-wide popularity and exposure. Whereas once, many hundreds of years ago, these dances were closely tied to religious events and heavily loaded with sacred values, they have on the whole become tourist commodities appreciated more for their general entertainment value than for their religious value.

Historically, Balinese dances were present in some form before the Pre-Hindu period. These dances were, usually, offered as part of animistic ceremonies. At that time the dances were very ritualistic, and they were used to help with important events, such as for warding off misfortune, to bring on rain, and to heal the sick. These dances were accompanied with various kinds of sacred musical instruments.

Now, at the door of the third millennium, the remains of ancient dances can still be found in Bali. The Sang Hyang dance, Legong dance, and Joged dance all have remnants from these ancient roots. They represent dances that were historically presented at three different levels - for the priest class, for noblemen, and for the common people. It's fascinating to follow the unique development of these three dances from the past and into the future.

Sacred Sang Hyang

The Sang Hyang Dance is a Balinese dance that has remained faithful to its original sacred values and religious function. Having maintained strong ties with its Pre-Hindu animistic conception, this dance can still be found in many villages in mountainous places.

The Sang Hyang dance usually includes two or three dancers, and the climax is the kerawuhan (trance), which is, it is believed, the act of the possession of dancers' bodies by the ancestors' spirits. This kerawuhan can be attained by penudusan (inhaling incense smoke), singing sacred songs, and meditation with deep concentration.

The dance is a pelukatan or 'purification' ceremony according to the Hindu faith. This ceremony used to be held every time there was a disaster in the community. Different from other Balinese dances, the Sang Hyang dance is performed only when necessary and in conjunction with these random events, and has nothing to do with the regular religious ceremonial calendar. If there is an epidemic in an area, for example, the dance is usually performed regularly for a period of up to one month until the epidemic disappears.

The dancers of Sang Hyang are usually chosen from a group of girls between the ages of nine and twelve years. Four or five of them are assigned as the Sang Hyang dancers over a certain period and, usually, they come from the family of a pemangku, or Hindu priest.

The Sang Hyang dance is usually performed at night, and the ceremony takes place in the Jeroan pura - the most sacred place in the temple. The whole community witnesses this performance and is involved in it.

The first episode of the performance is known as the penudusan. During the period of penudusan, the ancestors are invited to come down to the earth, while the dancers of Sang Hyang inhale the perfumed scent from the incense. The performers will bow down in front of a pemangku, who gives the offering to the visiting ancestors. If the ancestors are pleased to come and visit, the Sang Hyang dancers will close their eyes and move to the back, and assisted by the older dancers, they can continue to follow the ceremony together. After that they will fall to the earth in a trance for as long as half an hour or more.

The chief of the ceremony may then ask the ancestors to speak. The ancestors will often begin to talk to their followers in a strange voice, giving advice on how the community can deal with their problems. A remedy for treating epidemics is often given, which consists of leaves, roots, grass, rice, and some other kinds of plants.

The Sang Hyang dancers in this ceremonial procession then distribute special bracelets to the people present that must be worn during the infectious period of the epidemic. This bracelet is made from thread and uang kepeng (an old coin). Holy water is also prepared by the chief of the ceremony and sprinkled on the whole group.

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