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STAHN Mpu Kuturan Singaraja Aneka Lovina Villa & Spa, 20th - 21st October 2018 SABHA KUNINGAN CEREMONY IN DESA PAKRAMAN CEMPAGA, KECAMATAN BANJAR, KABUPATEN BULELENG, BALI Ni Luh Ika Windayani STAHN Mpu Kuturan Singaraja E-mail: [email protected] ABSTRACT This study aimed at finding out the clarity of the implementation of Sabha Kuningan ceremony which was held for three days in Cempaga village, the clarity of the Sabha Kuningan ritual system for the people in Cempaga village, and the clarity of the Sabha Kuningan cer- emony function for the people in Cempaga village. Method of study was needed in order to get factual answers and ratio. The steps taken were through a direct approach to the respondents and informants who were supported by the library data, documentation which were combined with non-participation observation data. All of this data were analyzed as carefully as possible. In this study, the result showed that there were three things that could answer the problems that exist, namely: (1) Dudonan/ sequence of Sabha Kuningan ceremony was quite a lot so that it could not be held in one day; (2) The ceremony system consisted of three parts, namely the preparation stage, the top ceremony, and pengelemek; (3) Beside having religious functions, the Sabha Kuningan ceremony also had socio-cultural, psychological and economic functions. From the results of this study, the suggestions could be delivered to the people in Cempaga village. They had to keep preserving their customs because they were part of national culture, so that they could carry out the teachings of the Tri Hita Karana concept properly. -
Performance in Bali
Performance in Bali Performance in Bali brings to the attention of students and practitioners in the twenty-first century a dynamic performance tradition that has fasci- nated observers for generations. Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an understanding of performance culture in Bali from inside and out. The book describes four specific forms of contemporary performance that are unique to Bali: • Wayang shadow-puppet theatre • Sanghyang ritual trance performance • Gambuh classical dance-drama • the virtuoso art of Topeng masked theatre. The book is a guide to current practice, with detailed analyses of recent theatrical performances looking at all aspects of performance, production and reception. There is a focus on the examination and description of the actual techniques used in the training of performers, and how some of these techniques can be applied to Western training in drama and dance. The book also explores the relationship between improvisation and rigid dramatic structure, and the changing relationships between contemporary approaches to performance and traditional heritage. These culturally unique and beautiful theatrical events are contextualised within religious, intel- lectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese performer. Leon Rubin is Director of East 15 Acting School, University of Essex. I Nyoman Sedana is Professor at the Indonesian Arts Institute (ISI) in Bali, Indonesia. Contents List -
Glossary.Herbst.Bali.1928.Kebyar
Bali 1928 – Volume I – Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu by Edward Herbst Glossary of Balinese Musical Terms Glossary angklung Four–tone gamelan most often associated with cremation rituals but also used for a wide range of ceremonies and to accompany dance. angsel Instrumental and dance phrasing break; climax, cadence. arja Dance opera dating from the turn of the 20th century and growing out of a combination of gambuh dance–drama and pupuh (sekar alit; tembang macapat) songs; accompanied by gamelan gaguntangan with suling ‘bamboo flute’, bamboo guntang in place of gong or kempur, and small kendang ‘drums’. babarongan Gamelan associated with barong dance–drama and Calonarang; close relative of palégongan. bapang Gong cycle or meter with 8 or 16 beats per gong (or kempur) phrased (G).P.t.P.G baris Martial dance performed by groups of men in ritual contexts; developed into a narrative dance–drama (baris melampahan) in the early 20th century and a solo tari lepas performed by boys or young men during the same period. barungan gdé Literally ‘large set of instruments’, but in fact referring to the expanded number of gangsa keys and réyong replacing trompong in gamelan gong kuna and kebyar. batél Cycle or meter with two ketukan beats (the most basic pulse) for each kempur or gong; the shortest of all phrase units. bilah Bronze, iron or bamboo key of a gamelan instrument. byar Root of ‘kebyar’; onomatopoetic term meaning krébék, both ‘thunderclap’ and ‘flash of lightning’ in Balinese, or kilat (Indonesian for ‘lightning’); also a sonority created by full gamelan sounding on the same scale tone (with secondary tones from the réyong); See p. -
Term-List-For-Ch4-Asian-Theatre-2
Asian Theatre: India, China, Korea, Japan, Indonesia, & Cambodia Cultural Periods and Events Theatrical Developments Persons Aryan migration & caste system Natya-Shastra (rasas & the Bharata Muni & Abhinavagupta Vedic & Gandhara Periods spectator’s liberation) Shūdraka & Kalidasa Hinduism & Sanskrit texts Islamic invasions actor-manager (sudtradhara) Buddhism (promising what?) shamanic rituals jester (vidushaka) Hellenistic influence court entertainments with string-puller (sudtradhara) Classical Period & Ashoka Jester Ming sheng, dan, jing, & chou (meanings) Theravada & Mahayana wrestling & Baixi men & women who played across gender Gupta golden age impersonations, dances, & women who led troupes Medieval Period acrobatics, sword tricks Guan Hanqing Muslim invasions small plays of song and dance Tang Xianzu Chola Dynasty Pear Garden & adjutant Li Yu Early Modern Period plays Kan’ami & Zeami Mughal Empire red light districts with shite & shite-tsure (across gender), waki, Colonial Period with British East southern dramas & waki-tsure, & kyogen India Company variety show musicals chorus of 8 men, musicians, & onstage British Raj with one star singing per stagehand (kuroko) Dramatic Performances Act act Okuni Contemporary Period complex, poetic dramas onnagata Shang, Zhou, Qin, Han, Jin, kun operas with plaintive Chikamatsu Northern & Southern, Sui, Tang, music & flowing Danjuro I Song, Yuan, Ming, & Qing melodies/dancing chanter, 3 puppeteers per puppet, & Dynasties Beijing Opera (jingju) as shamisen player nationalist & communist rulers -
The Origins of Balinese Legong
STEPHEN DAVIES The origins of Balinese legong Introduction In this paper I discuss the origin of the Balinese dance genre of legong. I date this from the late nineteenth century, with the dance achieving its definitive form in the period 1916-1932. These conclusions are at odds with the most common history told for legong, according to which it first appeared in the earliest years of the nineteenth century. The genre Legong is a secular (balih-balihan) Balinese dance genre.1 Though originally as- sociated with the palace,2 legong has long been performed in villages, espe- cially at temple ceremonies, as well as at Balinese festivals of the arts. Since the 1920s, abridged versions of legong dances have featured in concerts organized for tourists and in overseas tours by Balinese orchestras. Indeed, the dance has become culturally emblematic, and its image is used to advertise Bali to the world. Traditionally, the dancers are three young girls; the servant (condong), who dances a prelude, and two legong. All wear elaborate costumes of gilded cloth with ornate accessories and frangipani-crowned headdresses.3 The core 1 Proyek pemeliharaan 1971. Like all Balinese dances, legong is an offering to the gods. It is ‘secu- lar’ in that it is not one of the dance forms permitted in the inner yards of the temple. Though it is performed at temple ceremonies, the performance takes place immediately outside the temple, as is also the case with many of the other entertainments. The controversial three-part classification adopted in 1971 was motivated by a desire to prevent the commercialization of ritual dances as tourist fare. -
Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia)
DOCUMENT RESUME ED 411 529 CS 215 987 AUTHOR Cork, Vern, Comp. TITLE Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia). Language Acquisition Research Centre.; Australian National Languages and Literacy Inst., Deakin. ISBN ISBN-1-87560-40-7 PUB DATE 1996-00-00 NOTE 200p. PUB TYPE Collected Works General (020) Creative Works (030) LANGUAGE English, Indonesian EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Anthologies; *Audience Awareness; Cultural Background; *Cultural Context; Foreign Countries; *Indonesian; Literary Devices; Non Western Civilization; *Short Stories; *Social Change; Tourism IDENTIFIERS *Bali; *Balinese Literature; Indonesia ABSTRACT This collection of 25 short stories (in Indonesian) by Balinese writers aims to give Bali's writers a wider public. Some of the stories in the collection are distinctly and uniquely Balinese, while others are more universal in their approach and are self-contained. But according to the collection's foreword, in all of the stories, experiences of Bali are presented from the inside, from the other side of the hotels, tour buses, and restaurants of "tourist" Bali. The writers presented come from a range of backgrounds, reflecting the diversity cf Balinese society--different castes, differences between urban and rural baa4xiouncl.s, .and varieties of ethnicity are all important to the multiplicity of voices found in the collection. In addition, the collection draws from backgrounds of journalism, theater, cartoons, poetry, and academia, and from writers who may have been born in other parts of Indonesia but who have lived for decades in Bali and reflect Bali's inseparability from the Indonesian nation. -