
No.044/VIII - January 2000

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

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

A Region in Transition
Lombok in the New Millenium
Private Islands
The Legend of Three Islands
Lombok Update

Prospectives
Predicting the Future
Flashback
Keep the Faith
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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| 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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