Int. J. Sport Health Sci. Paper : Cultural Anthropology The Transformation of Dance Instruction in Bali, Indonesia Mami Kokuho Faculty of Social Innovation, Seijo University, Seijo 6-1-20, Setagaya-ku, Tokyo 157-8511, Japan E-mail: [email protected] [Received August 26, 2019; Accepted April 29, 2020; Published online May 22, 2020] Dance in Bali, Indonesia, known as Balinese dance, has so far been taught by traditional in- struction methods that involve repeated program imitation and correction. However, in recent years, an instruction method for beginners known as “Dasar,” has been proposed by an in- structor. The purpose of this paper is to consider the problems currently faced while teaching Balinese dance by analyzing the characteristics of the new method of instruction. As a result of analyzing Dasar and comparing it with traditional instruction methods, we found that this method coincides with the changes in the environment for Bali dance and the children who study it. With these environmental changes, passing on Balinese dance to the younger generation, using traditional instruction methods has become difficult. Tailored to such an environment, Dasar, with its uniform instruction methods and presentation of basic movements was proposed with the intention of establishing new standards for teaching all types of Balinese dance. Initially, it may seem as though Dasar adopted an instructional method that did not previous- ly exist. A clear effort by an instructor has been made to recognize and protect diversity while categorizing elements into the old and the new of Bali island culture to further promote dance. Keyword: Bali, dance, instruction method 1. Preface Bali-barihan is the 19th century Legong dance. How- ever, new creative dances also fall into this category. Originating from Bali province (hereinafter, Bali) in As such, Bali-barihan dances are developed and added the Republic of Indonesia, there are various types of each year. Because most Bali-barihan dances require Balinese dance, including ritual votive dances, dances high levels of skill, historical practice entailed that for amusement, and the more recent creative dance children were specifically selected to undergo strict type. Beginning with those containing the strongest training while lodging at temples far away from their ritual elements, these dances are divided into three families; they were thus raised as dancers (Tōkai et categories: Wali, Bebali, and Bali-balihan. As dances al., 1990). Today, however, any interested persons are of the most sacred category, Wali, are highly restrict- permitted to learn these dances by paying monthly ed*1, while Bali-barihan are relatively free and can be tuition fees to practice them a few times each week as performed for tourists. While Balinese votive dances a type of hobby. that have been passed down for generations are con- Given the changing environment, an instructor served through these categories, new dances have also recently proposed a dance called “Tari Dasar”*2 com- been proactively developed to focus more strongly on monly called “Dasar” along with a new method of amusement. instruction. Dasar is a beginner’s dance designed to This study examined how these dances are handed help students learn the basic movements of Balinese down and taught to children by focusing on the cate- dance. Until recently, it was “traditional” for beginners gory of amusement dancing, or Bali-barihan dances, to learn this while standing behind an expert dancer which are intended for public enjoyment and thus and imitating their movements. While special methods performed at events and functions that have little of instruction designed for beginners (such as those religious significance. A representative example of seen in Dasar) are now rare, they are of great interest 180 International Journal of Sport and Health Science Vol.18, 180-188, 2020 http://taiiku-gakkai.or.jp/ The Transformation of Dance Instruction in Bali, Indonesia to studies researching the current state of Balinese There are the following previous studies on the cur- dance. rent dance instruction in which the environment has The purpose of this paper is to consider the prob- changed. British ethnomusicologist Jonathon McIntosh lems facing Balinese dance today by analyzing the conducted fieldwork on the sanggar*4 in Gianyar Pre- characteristics of this instruction method. It is now fecture, and he discussed the role of music and dance common for recent Balinese creative dances to include in children’s daily life. On dance instruction, McIntosh dance elements from other genres. Children also have stated that the traditional method emphasizes “(1) imi- many opportunities to see other genres of dance tation, (2) manipulation, and (3) kinesthetic transfer” through the Internet or on television. In the context of (McIntosh, 2006). Australian ethnomusicologist Peter a globalizing society, the succession of folk dances Dunbar-Hall conducted fieldwork on the sanggar in presents a major challenge not only for Balinese danc- village of Ubud. Like McIntosh, Dunbar-Hall noted ing, but also for that of other cultures. Thus, this study that instruction involves imitation and correction. He also holds the potential to contribute to folk dancing also cited another aspect, namely, “there are no tech- knowledge more broadly. nical exercises, and learning is through performance The research method used is centered on participant of complete pieces” (Dunbar-Hall, 2011). Yagi Reiko, observation and interviews conducted in the field. I a scholar of Ethology for Kansei information and Psy- also interviewed the founder of Dasar regarding its chology for well being, notes that in the teaching of makeup and received dance instructions directly from Gamelan and Balinese dance, great classical songs are her. This paper elaborates on my findings during this used from the start through “a method wherein the process*3. teacher begins to dance right away from the beginning of the song, and the learner focuses solely on imita- 2. Preceding research tion.” (Yagi, 2019) Thus, recent studies on dance instruction refer to a Writings left by foreign visitors to Bali during the repeated process of imitation and correction, but there 1920s and 1930s inform us that contemporary begin- is no reference to the kind of detailed instruction or ners would stand behind instructors or older dancers physical training that Reneng and Cawan received. In while imitating their movements; instructors would my own fieldwork, I have also found that the method then take their hands and correct their motions of repeated imitation and correction is now commonly (Covarrubias, 2006 [1936], Speis and Zoete, 2002 described as “traditional.” Of course, there is no ques- [1938]). Learners would continue practicing until tion that Balinese dance instruction has generally been they were successfully able to perform the movements conducted through repeated imitation and correction alone. However, evidence also indicates that there for a very long time. However, if the term “traditional” were other methods of instruction; Ni Ketut Reneng, refers to methods of instruction that have been used an active dancer at the time who later became an for such a length of time, then methods such as mas- instructor, described her life after being selected and sages designed to make the body supple and begin- trained as a dancer in Bali, Island of Dance (Tōkai et ning by learning the positioning of the feet should al., 1990). Reneng’s training began with massages also be included. Here, “traditional instruction meth- designed to make her body supple from an early stage. ods” refer to those in which an expert dancer performs She practiced dance and trained all day, from morning a dance from the beginning of the song while the be- until night. When learning a dance, she would begin ginner stands behind them to imitate their movements. with the feet and gradually move to the upper body The expert then corrects the learner’s movements. movements. It is also clear that she received detailed Accordingly, this paper refers to these elements as instructions that went beyond simply standing behind “traditional instruction methods.” an expert dancer and copying their movements. Ni Ida Ayu Made Praba Wisnuari take up Dasar as the Ruh Cawan, a dancer who was active during the topic for her graduation thesis for the Indonesian 1930s, also provided descriptions in Bali, Island of Institute of the Arts Denpasar (Institut Seni Indonesia Dance regarding how she underwent physical training Denpasar, ISI). Wisnuari carried out fieldwork at outside dance, such as that designed to accomplish Sanggar Tari Bali Warini (hereinafter Sanggar beautiful eye movements and being bound to a bam- Warini), which is presided over by the founder of boo pole in order to better arch her chest. Dasar, Ni Ketut Arini. She focused on Arini’s instruc- 181 Mami Kokuho tion methods, including that of Dasar, and its effects; home, where she frequently takes the stage to provide of great interest here are discussions on Dasar’s instructions to children. Many current professional uniqueness that include interactions with students dancers and ISI teachers were her students. (Wisnuari, 2016). However, in addition to these, I The Sanggar Warini is the largest sanggar in Den- would also like to research about the background of pasar with over 200 students. In addition to being a Dasar. As such, in this research, I seek to describe renowned dance instructor as mentioned above, Arini and analyze the characteristics of this new method, is also well known for her personality and teaching and then focus on and discuss the current problems of methods, and is popular with neighborhood children Balinese dance instruction. as well as kids who come from further away to learn dance under her tutelage*6. 3. Research subjects 4. Dasar The main target of this research is the Sanggar Warini in Denpasar, Bali’s capital city, which Arini 4.1. Flow of instruction presides over as mentioned above.