Balinese Dance, Drama & Music. I Wayan Dibia

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СКАЧАТЬ in the performers and/or audience falling into trance, is done in the outermost courtyard yet could be glossed as wall. For the Balinese, the most important aspect is to have the utmost respect for the forms meant for their deities and that no defilement takes place. But when Sanghyang trances done for tourists have fake trance, it gives pause for thought.

      Taksu

      In Bali, there is no specific deity of dance or music or puppetry. Performers pray to their ancestors before leaving home to ensure success. They also pray at the temple where they are performing for taksu to descend into their souls. Taksu is an energy, a type of spiritual charisma that exceptional artists (and healers) are blessed with. It has little to do with technical precision, as there are performers who are perfect in their execution but lack that extra something, while there are those less skilled but who are able to bind their audience to them. Taksu can be passed down from a parent to a child or from a teacher to a pupil. A performer can have taksu at one performance and the following night fall flat. A mask can possess taksu and assist the actor in making it come alive. An entire gamelan orchestra can possess taksu regardless of who plays in it.

      Having taksu is possessing the ability to hold your audience, to become magnetic and enchanting (in the full sense of the word) on stage. In the West, some might call this stage presence, but it is much more than that as there is a definite connection with divine forces. A performer prays for taksu to please the mortal audience and the divine one as well.

      Another concept which assists in the attainment of taksu is the tripartite idea of bayu (energy), sab da (inner voice) and idep (thought). In order for taksu to appear, these three elements must be in balance. A dancer (or puppeteer) must have energy in order to move, his or her inner voice or convictions must be present in order to perform well, and there must be clarity in the thought process.

      Even though the number of performers has increased greatly over the last century, those with taksu have decreased. Modernization and globalization are partly responsible for this. The attention span is shorter and concentration is less strong than it was in the past. Musicians, dancers and puppeteers have reasons other than solely devotion (money and fame among them) for performing at a temple ceremony. Just a generation ago, children in a village would get so excited about performing at the next temple festival with their uncles and fathers and brothers accompanying them on the gamelan and all their neighbors and relatives watching. Today there are after-school activities, video games and, of course, television. All of this has an impact on the arts, yet there never seems to be a shortage of dancers and musicians.

      Blessing of the Barong and Rangda. Sacred masks are given offerings of food and flowers, placed on the ground, to appease the spirits of chaos.

      Moving between Two Worlds: Belief and Magic

      The seen (sekala) and the unseen (niskala) worlds are equally important to the Balinese, and they move from one to another with ease. A dancer moves from the world of the ancestors to the world of the audience. A puppeteer brings the ancestors down to the screen in the shape of shadows. In daily life, in life cycle rituals and in performance, the Balinese are ever aware of the spirits and energy surrounding them and the importance of establishing "balance."

      The princess in Arja performs a simple yet symbolic gesture, that of opening the curtain-stepping from the secular world into the realm of the sacred.

      The Balinese religion is Hinduism, yet the texture is much richer and more ancient than the Indian Hinduism which came to Bali from the ninth century. One of the most important aspects of the belief system is ancestor worship. When people die, they are cremated and purified in elaborate rituals and worshipped as ancestral deities. These ancestral spirits, if remembered and appeased, help their descendants. If neglected and forgotten, they may wreak havoc upon the family.

      Moving between the two worlds of sekala (seen, conscious) and niskala (unseen, subconscious) is something the Balinese do with ease on a daily basis. This can be manifested in actions as familiar as beeping the car horn when crossing a bridge to alert the tony a (river spirits) who live there, asking their permission to pass, or praying to a deceased family member for a successful performance.

      Influence on Performing Arts

      The influence of the niskala world plays a large part in the performing arts. Puppets in the shadow play are actually thought of as deities or ancestors, and masks have a spirit of their own and must be propitiated. Gamelan instruments as well as dance costumes all have their own special cleansing rituals every 210 days: tumpek krulut for gamelan, tumpek landep for keris (daggers), and tumpek wayang for puppets and dance paraphernalia.

      Certain objects can be imbued with supernatural power, such as a keris, mask or gamelan instrument. In many sangbyang traditions, brooms, jar lids, dolls and rattan wands become infused with the spirit. This can be seen in its essence in performances of magic: Calonarang, Basur and various types of dances and dramas which use the mask of Rangda the witch. The performance itself is a way to balance energy which has become shaky. The world is tipping too much towards chaos and needs uprighting. Often this occurs during the sixth lunar month (November-December) when disease is more prevalent at the beginning of the rainy season (see pp. 56-7, Rejang). Many villages have specific rituals to ward off pengiwa (black magic). Practitioners of left-handed magic create havoc and hurt others by casting spells over people that cause illness.

      Young dancers pray before images of ancestral deities in the temple to ask their blessings for the forthcoming performance.

      Trance

      The Balinese accept trance as an ordinary occurrence, a way of communicating with the gods, spirits and ancestors. Certain masks, types of music and performances, such as Calonarang, are better able to induce a trance state than others. In Sanghyang (pp. 58-9), for example, a trance state is induced by a number of elements: first, there are sacred songs sung to invite the spirit of divine entities into the bodies of the dancers; secondly, the heavy smoke from the frankincense helps to induce a hypnotic state and, thirdly, group expectation: the villagers hope that the Sanghyang will go into trance. This is a type of group hypnosis and the reason that trance usually occurs in controlled, sacred spaces. One never goes into trance without others around to witness and validate it. Trance may occur in performance as well as in religious rituals. It is a sign that the deities have truly descended.

      Legong dancers at Pura Desa Sumerta go into a trance after performing for 20-30 minutes. The power of the head-dresses is said to induce altered states of consciousness.

      A performer so completely transforms him-or herself into the character being played that an altered state is achieved. This makes the performer more susceptible to magical spells being sent their way by a member of the audience. There are special prayers and mantra that performers recite before going on stage and amulets they wear for protection. In some plays, such as Calonarang, the Rangda dancer or the dalang (puppeteer) calls on all the leyak (witches) of the village to come to the stage area to test their magical powers. This type of "magical dueling" was quite common in the past. Many older Balinese can tell you of the time a Calonarang puppeteer performed in their village, and the next morning either a local witch or the puppeteer was dead, depending who won.

      A less dangerous way for a performer to move between two worlds is in the performance itself. As soon as the dancer moves through СКАЧАТЬ