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The Ideology Behind Sesandaran Dance Show in Bali

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The Ideology Behind Sesandaran Dance Show in Bali © JSSA 2020 J Sociology Soc Anth, 11(1-2): 78-85 (2020) PRINT: ISSN 0976-6634 ONLINE: ISSN 2456-6764 DOI: 10.31901/24566764.2020/11.1-2.348 The Ideology Behind Sesandaran Dance Show in Bali N.M. Ruastiti1 and G.Y.K. Pradana2 1Department of Cultural Studies, Indonesian Institute of the Arts, Bali, Indonesia 2Department of cultural studies, International Bali Institute of Tourism, Bali, Indonesia E-mail: 1<[email protected]>, 2<[email protected]> KEYWORDS Commercialising. Ideology. Knowledge Power. Traditional Villages. Tourist Attraction. ABSTRACT This research was carried out with the aim of understanding the existence of Sesandaran Dance, which until now is still sustainable in the midst of the hectic tourist attraction of Tanjung Benoa Bali. Although many tourists are interested in watching the Sesandaran Dance Show, the local community seems to not be interested in commercialising the dance for tourism. This research was conducted using qualitative methods. All primary and secondary data, which were obtained directly in the field through participant observation, in-depth interviews, and FGDs with related informants, were analysed using aesthetic theory, religious theory, and relation theory of knowledge power. The research findings showed that the people in the traditional village of Tanjung Benoa perform Sesandaran Dance in the form of a drama, and the local society continues to preserve the Sesandaran Dance until now because it is based on religious ideology, self-actualisation ideology and cultural preservation ideology in this global era. INTRODUCTION cred performance art that is only performed in the context of the ceremony of Dewa Yadnya in the Bali Island is a tourism destination area that is temple. The dance is performed in the context of very famous for its natural beauty and cultural the ceremony within the temple only. For instance, uniqueness (Karmini et al. 2019). The natural beau- Baris Dance, Rejang Dance, and Sanghyang ty of Bali, which is famous for its pristine white Dance (Souhuwat and Sukana 2018). These danc- beaches and its golden sunset, makes Bali always es are performed in the core part of the temple to crowded with tourists both from within and out- welcome the arrival of the Gods. Baris Dance is side the country. In addition to its beautiful pan- performed by a group of male dancers whose orama, Bali is also famous for it special and unique movements depict soldiers and symbolise the cultural arts that seem to blend with their daily unity of military forces in the ancient kingdom to lives. It can be seen from every activity of its life, protect the kingdom from chaos. Meanwhile, Re- which is always related to art (Ruastiti et al. 2018). jang Dance is a type of ritual dance whose move- This has made many outsiders call the Balinese ments are very subtle and danced by a group of people artists. It means that every Balinese wom- female dancers. In Bali, there are many Rejang an must be good at dancing and every Balinese Dances, including Rejang Renteng, Rejang Gece- man must be good at playing the gamelan. They kan, Rejang Oyodpadi, Rejang Bengkol, etc., in do art in every activity of life both in the context which until now they are still often performed at of ceremonies, social, and tourism. The Hindu- piodalan ceremonies in Besakih, Batur, Bongaya Balinese people consider that the implementation (Karangasem), Tenganan Pegringsingan Temples, of a religious ceremony has not been perfect with- etc. (Pentassuglia 2017). out the presence of five Gita (five sounds) which Apart from Baris Dance and Rejang Dance, include mantra, genta, kidung, kentongan and which are performed in the context of rituals, there tetabuhan. Therefore, every implementation of a is also Sanghyang Dance (Pickel-Chevalier et al. religious ceremony in Bali is always complement- 2016). Sanghyang Dance is a ceremonial dance ed by shows of the performing arts in the form of that contains elements of grievance (possessive- dance, karawitan, and wayang. Entertaining per- ness). They sing starting from a low note and a forming arts can have social, economic and cul- very slow tempo then slowly get faster and high- tural implications (Pradana 2018). er (Pradana 2018). Bebali Dance is a performance Based on its function, Balinese dances can art that is presented in the context of certain tra- be divided into four groups. Wali Dance is a sa- ditional ceremonies such as in the ruwatan anak THE IDEOLOGY BEHIND SESANDARAN DANCE SHOW IN BALI 79 ceremony, tooth cutting ceremony, and so on. tourist area has natural attractions in the form of The dances belonging to Bebali Dance include mangrove forests and turtle islands. A rare and Topeng Dance, Wayang Kulit, and so on. Balih- stunning beach can be an attraction that is in Balihan Dance is a performance art that is per- demand by tourists (Pradana and Pantiyasa 2018). formed solely for entertainment. This performing The beautiful collection of mangroves in the road- arts group is performed in areas outside the tem- side area and the sight of rare animals including ple, for instance, Janger Dance, Joged Bumbung, green turtles and Bali starlings increase the expe- Drama Gong, and so on. Tourism performing arts rience of tourists during their vacation to the Tan- is an art group whose presentation form and cho- jung Benoa area of Bali. The Tanjung Benoa area reography are made according to the context of is located in the traditional village of Tanjung the event. Generally, many types of performing Benoa, which is included in the Badung Regency arts are created by imitating the forms of tradi- area of Bali Province. The village of Tanjung Benoa tional local performing arts, which are predomi- is located in the southern region of Bali Island. nantly religious nuances, for instance, Cak and The location of the traditional village of Tanjung Fire Dance, Barong and Kriss Dance, Legong Benoa is close to the coastal suburb to the south- Dance, and others (Dewi 2016). east of Bali Island. The Tanjung Benoa area of The Balinese performing arts, which seem to Bali is famous for the beauty of the sea reef and merge with the lives of the people, however, have its white sand beach. none of the writings discussing Sesandaran The Tanjung Benoa area is an adaptive proof Dance, which until now has been preserved of the development of tourism trends, the ad- amidst the bustling tourist attraction of Tanjung vancement of the tourism industry and the devel- Benoa. Tanjung Benoa is one of the nautical tour- opment of modern entertainment in the Tanjung ism objects that present a choice of water sports Benoa area. Along with the increasing interest of tour packages that are in great demand by tour- tourist visits and a variety of modern entertain- ists. Tanjung Benoa has a tourist area flanked by ment, it turns out that the local community still two beaches with white sand. The two beaches adheres to its cultural traditions, namely the have small waves, so a variety of water sports Sesandaran Dance, which is usually performed at facilities are provided by tourism players for nau- Pura Dalem in the traditional village of Tanjung tical tourism activities. In addition to offering a Benoa Bali. Sesandaran Dance locations can be panoramic view of the beach, the Tanjung Benoa seen in Figure 1. Fig. 1. Pura Dalem place where Sesandaran Dance is performed J Sociology Soc Anth, 11(1-2): 78-85 (2020) 80 N.M. RUASTITI AND G.Y.K. PRADANA Figure 1 shows that Pura Dalem in the tradi- pleasant physical activity can contribute to many tional village of Tanjung Benoa Bali is a sacred factors related to the quality of life (Georgios et place of Balinese Hinduism that has a very beau- al. 2018). An innovative behaviour is also impor- tiful and distinctive architecture. The layout, the tant to develop innovation in increasing produc- name of the temple and the forms of Balinese ar- tivity. Besides, productivity can be increased by chitecture are actually the attractions of Balinese providing encouragement that can motivate the culture that are very popular with tourists. In ad- work of dancers. Dance can effectively represent dition, each ceremony is complemented by the data through a universal language (Pentassuglia local performing arts. Sesandaran Dance is still 2017). Learning traditional dance can have a pos- preserved until now as a sacred dance by the itive influence in establishing the character’s reli- people in the traditional village of Tanjung Benoa. giosity, honesty, responsibility and cooperation, They only served the dance during the ceremony tolerance, discipline, and creativity (Riyaningsih of Dewa Yadnya at Pura Dalem in the traditional et al. 2018). village of Tanjung Benoa in Bali. Sesandaran Five essential components for those involved Dance is used by people in the traditional village with caring for dancers, when properly applied, of Tanjung Benoa Bali as a medium to strengthen will assist them in decreasing the likelihood of spirituality amidst the social change and the de- dance-related injury and ensuring that dancers velopment of tourism in the area. The implemen- receive optimum attention from the healthcare tation of ceremonies on holidays can be done by profession including screening, physical train- mediating in strengthening spirituality and evi- ing, nutrition and rest, specialised dance health- dence of faith according to religious rules. care, and becoming acquainted with the nature of The development of global culture so far dance and dancers (Russell 2013). Traditional seems to have touched the lives of the local soci- dance exercises and upper body exercises can be ety. This generally makes the society experience an alternative choice for physical activity for changes in their lives.
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