Int. J. Sport Health Sci. Paper : Cultural Anthropology The Transformation of Instruction in ,

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 dance. How- ever, new creative 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 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-

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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. Born in Denpasar in 1943, Arini graduated from Conservatory for Tradi- Table 1 shows the flow of instruction at Sanggar tional Balinese Music and Dance (Konservatori Warini and provides an explanation of Dasar. This Karawitan Indonesia, KOKAR) and has since worked class is for the youngest group of girls, who range as a dance teacher at the same school. Arini’s teacher from four years of age to the lower grades of elemen- was the dancer I Wayan Rindi, who was her father’s tary school; it is comprised of approximately 40 stu- cousin; Rindi was selected as a Legong dancer dents.*7 This sanggar also offers two advanced girls’ together with Ni Ruh Cawan (mentioned in section 2 classes that take both school year and proficiency on preceding research) and was later an active dancer level into account. There are boys’ classes, as well. at numerous venues. Balinese dance movements differ for male and female Arini won several lomba*5 championships and dancers. However, Dasar is not taught to boys be- gained fame as a dancer at a young age. She was cause it is solely designed for female dancers. Of the invited by the government to participate in national two levels of Dasar that exist, students in the ad- ceremonies in the form of dance presentations and vanced girls’ class only learn Dasar2. overseas performances. Now in her 70s, she is still an While there may be some variation to the order in active dancer and she often holds a sanggar at her which 4-7 are taught, Dasar must always be taught

Table 1 Flow of Sanggar Instruction.

Content Time Details Simple warm-up Brief warm up exercises, including stretching of the Achilles heel and abdominal muscles and 1 Approx. 3 min exercises rotating the head and shoulders. Approx. 2 Dasar1 Dasar is Indonesian for “basic.” This is a dance designed by Arini to teach learners the basics. 12 min/half Continuing on from Dasar1, this is a second composition for learning the basics. Dasar2 is 3 Dasar2 Approx. 10 min more advanced than Dasar1. 4 Pendet Approx. 8 min A greeting dance. One holds a tray containing a flower and dances while scattering the petals. 5 Approx. 12 min Condong is a handmaidens’ dance and part of the Legong Keratin Lasem dance. Margapati is a dance depicting a male but performed by females. It is the dance of the king of 6 Margapati Approx. 7 min the forest 7 Puspanjali Approx. 5 min A greeting dance. It comprises simple, repetitive movements. Contents 1 to 3 are performed once; contents 4 to 7 are performed twice depending on the day. The time indicates the duration of the musical piece except in the case of warm-up exercises. Once the musical piece has finished, time is set aside for rest andin- structor’s comments.

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first. Beginners at this sanggar thus always begin by Table 2 Flow of Tari Dasar1. learning Dasar. Incidentally, the dance instructions de- Name of Movement Body Parts scribed in Table 1 are quite typical if Dasar is re- moved; students of this age group at another nearby 1 Eed/Ngeed tarso, leg sanggar practice very similar types of dances. 2 Piles/Miles tarso, leg Further, traditional instruction methods are used for 3 Tayungan Kaki tarso, leg both Dasar and other dances, wherein students of 4 Malpal head, torso, leg higher proficiency dance at the front while lower-level learners imitate them from behind as the instructor 5 Ngumbang Luk Penyalin head, torso, leg makes corrections. However, Dasar incorporates 6 Niltil/Ngocet head, torso, leg methods used to help beginners learn the movements 7 Nnyeregseg head, torso, leg more easily. As such, Dasar instructional methods dif- fer from the more traditional instruction methods used 8 Eed, Miles, Tayungan Kaki (double-speed) torso, leg to teach existing dances. 9 Adeg-Adeg arms, torso, leg Piles/Miles, Batis Togog, Sogok, Agem, 4.2. Description of Dasar Seledet (hereinafter, Combination1) head, eyes, arms, torso, 10 Agem, Seledet (hereinafter, Combination2) legs (Movement Concretely speaking, what is Dasar? First, Dasar1 of all bodies) Nurudut, Seledet and Dasar2 were developed by Arini in 2006 to teach the basic movements of Balinese dance to beginners. 11 Combination1 all As shown in Table 2, there are 22 total movements in 12 Piles/Miles, Batis Togog all Dasar1. provides an explanation and some Table 3 13 Combination1, Combination2 all photographs showing a portion of these. The names of the movements shown in the table are the same as 14 Combination1 all those generally used in Balinese dance; however, it 15 Nyalud all was Arini’s idea to teach the movements commonly 16 Combination1 all seen in Balinese dance by starting with the simplest. Nyelend Music created especially for Dasar with Gamelan ac- 17 all companiment has also been produced as a dance com- Combination1 position. 18 Ngonyed all The following are some of the original methods that 19 Combination1 all distinguish Dasar from other dances. This makes it easy to learn them even through traditional instruction 20 Milpil all methods. 21 Nyeregseg all First of all, the method for learning Dasar involves 22 Metanjeg Ngandang all dividing the movements and learning them individual- ly. As shown in the Table 3, at first the dancer bends her knees and extends her legs, placing her palms on her thighs without moving her arms. In Dasar, stu- dance. In other words, it borrows parts of the original dents begin with leg movements (up to number 9 in Balinese dance performance, ignoring the content and Table 2). They then proceed to number 10, at which flow of the program, instead consisting of practice of time they learn upper body movements, including parts in an order that takes into account the degree of those of the arms and head. By contrast, existing difficulty and frequency of movement. In that sense, it dances (or at least those in Table 1 other than Dasar) can be thought of as a teaching method that involves do not involve choreography that is designed solely the practice of individual dance movements. Mean- for the legs. In traditional instruction methods, right while, traditional instruction methods are all encom- from the start, all movements are learned systemati- passing, with students learning dance by practicing the cally. Also, as mentioned earlier, although Dasar is flow of the performance. As seen in Reneng’s com- treated as a single dance piece, its structure consists ments in the preceding research section, however, past of a flow of simple movements often seen in Balinese instructional methods began with foot positioning and

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Table 3 Part of Dasar Movement.

gradually moved to the upper body. While it is often rhythms. Instead, instructors often teach dance while unusual to only include leg movements in dance cho- humming along to the music*8. Therefore, with the reographies set to music, this is common practice in traditional instruction method, beginners must first Balinese dance training. While once omitted, it could listen the music as well as practice the choreography, also be said that the detailed instructional methods as they learn the timing of the movements. However, conducted in the past are now being reintroduced. in Dasar, each movement is separated by eight counts Next, Dasar utilizes music that is easy to move to. or multiples thereof, with a gong entering at given There are cases where, as in hip-hop and ballet, stu- times in accompaniment to the movement. This music dents learn to dance by counting the rhythm, but with is accompanied by Arini’s shouts of encouragement, traditional Balinese dance, the dancer rarely counts clapping of hands and stomping of feet, as has been

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reported in previous research (Wisnuari, 2016). This In the past, children were selected to become danc- makes it easier to match sound and movement. ers regardless of their own desires and could not give Finally, Dasar has a lot of repetitive movements. In up dancing until they were married. Further, parents Dasar, one movement is repeated several times, with of these children were often given special privileges*9 the tempo starting out slow and gradually increasing. in their towns; even if the dancer herself wished to This process is then repeated (number 1, 2 in quit dancing, she would thus continue to do so for the Table 3). In this way, it is possible to learn a side-to- sake of her parents. Learners therefore frantically side movement by repeating this single movement practiced regardless of the instructional method. This several times. With traditional instruction methods, is unlike the circumstances for children today; now, Balinese dance is treated as a continuous flow from anyone who wishes to learn is afforded the opportuni- beginning to end, and, depending on the choreogra- ty. If students do not enjoy the process, then they are phy, there are many cases in which one movement is allowed to quit. Also unlike past situations in which performed only once at a fast tempo. dancers were unable to quit until marriage, children now have the option to learn different activities. In 5. Why traditional instruction methods are in- addition to Balinese dance facilities, there are also sufficient if taught alone ballet and hip-hop schools in Denpasar, although they are still few in number. Other courses that are popular Although Dasar is currently used as a method for with children include Gamelan music and English. Of teaching children, it was originally created in 2006 for course, there are also various other types of amuse- foreign dance students. As mentioned earlier, until re- ment, such as TV. It is thus necessary to develop orig- cently traditional instruction methods were used to inal ideas and instructional methods that increase the teach beginners. However, foreign learners often have student desire to continue dancing. This is my impres- limited time to study dance and thus it is difficult to sion from my own experiences learning Balinese learn a dance of Bali-balihan only by the method of dance. However, students who strictly learn Bali- teaching which repeats imitation and correction. To balihan through traditional instruction methods often address this Arini incorporated the features mentioned find it bewildering at first; it takes time to feel any in Section 4.2. sense of accomplishment. By comparison, Dasar in- (1) Changes in the teacher-student ratio corporates ideas and methods that make it easy for That is, in the past, only selected children were beginners, thus enabling students to more easily feel a taught how to dance. Then, one teacher provided in- sense of accomplishment while increasing their desire struction to a few students; now, however, a single to continue practicing dance. teacher must provide instruction to many students. Ac- (4) The spread of the Internet has increased the num- cording to Arini, it is often impossible to provide stu- ber of opportunities to view other genres of dance dents with sufficiently thorough instruction using the As mentioned above, there are now schools for traditional instruction methods alone under these cir- other genres of dance in Denpasar. In addition, there cumstances. are more opportunities for children to view other (2) Changes in the time available for practice genres of dance on TV or the Internet. Arini says that Students of the past would engage in dance practice it is definitely not a negative thing for students to and training throughout the day, from morning until learn about other genres of dance. However, these op- night. Now, students only practice two hours at a time portunities in which children encounter other genres once or twice each week. In the past, students learned of dance are precisely why it is important to carefully to dance from morning until night by physically train- teach them about the movements that constitute Bali- ing and practicing through repeated imitation and cor- nese dance. rection. Now, she says, there is no regular physical It turns out that each of these (1)-(4) issues is also training for learners, who also have limited time. Tra- applicable to foreign students. In other words, it can ditional instruction methods are thus insufficient for be said that the innovativeness required to teach for- teaching students to dance. eign students is the same as what is needed to teach (3) The wide range of available lessons and amuse- children. As children are born into, and live in, the ment types and the lack of a compelling reason to current Balinese culture, the traditional instruction continue learning dance methods may no longer be the best way to teach

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Bali-balihan dances which also needs high dance amongst instructors using the traditional instruction technique. methods. In other words, by indicating what parts to Naturally, traditional instruction methods do have point out and correct, Arini is attempting to unify and their place. Compared to overseas learners of dance homogenize the instruction given to dance beginners. who have lived in a foreign culture, children have lit- Arini stated that I also wanted foreign dance students tle knowledge or experience with their bodies and to teach and disseminate Balinese dance in their own movements, and so are less likely to become con- country using Dasar by an interview. As Balinese fused. Further, students who have already mastered dance is no longer only learnt by a select few chil- the basic movements may benefit from traditional in- dren, the instruction method for this does not need to struction methods, which may better help them learn be a secret. the dance while also considering its story and flow. Moreover, by indicating the method by which Therefore, Dasar is also taught using traditional in- Dasar is to be taught to beginners, “basic movements” struction methods, which are also applied to the other can be thought of as being presented in Balinese dances shown in Table 1. Children who have main- dance. With regards to the movements in Balinese tained high levels of motivation to learn about dance dance, as summarized by Bandem (Bandem, et al., may also have no problem learning without Dasar. 1983), and as per author Djayus, the eight movements However, many children discontinue dance because are described as the basic movements of Bali dance there is nothing forcing them to continue, so in order (Djayus,1980). Hence, the concept of “basics” has to maintain a desire to continue, it is important that always existed in instruction. These, however, are not the instructions are easy to understand and the stu- used as basic instruction methods at the site where in- dents enjoy a sense of accomplishment. While the in- struction is provided, and beginners have always man- fluences of other genres of dance are important for aged to master Balinese dance using traditional in- development of Balinese dance, they also pose a seri- struction methods. This clearly indicated the “basic ous problem for the modern society. With the spread movements” for the beginners studying Dasar. There of TV programs and the Internet, children today are are now an increasing number of collaborative works exposed to a wide range of standardized information that incorporate contemporary creative works and and have many opportunities to experience other cul- dance elements from other genres in Bali-balihan. tures. Further, it is easier to pass down consolidated, Arini does not criticize this and says that it is natural explicit knowledge of what constitutes Balinese dance for new works to be created based on the times. It is movements than it is to pass on tacit knowledge not difficult for adults who have seen a lot of Balinese gained by learning the movements with one’s own dance to understand which parts contain new move- body through dancing. Clear, explicit descriptions and ments. However, this is not the case for small chil- more visual methods of passing on such knowledge dren, which is a concern for Arini. What’s more, in have therefore been favored over traditional instruc- light of the influence of other dance genres as a result tion methods thus far. It can be said that the same is- of the growing popularity of the Internet as mentioned sues apply not only to Balinese culture and dance but in Section 5(4), it is important that beginners are also to traditional dance in all other regions. made to understand basic movements, as these are considered of great importance in today’s Balinese 6. Impacts on Balinese dance as a whole dance.

The following effects of Dasar can also be seen. 7. Tradition and further development First of all, Dasar’s influence extends not only to stu- dents but, quite naturally, also to instructors. While As noted above, due to environmental changes, it is Dasar was the brainchild of Arini, it has never been becoming increasingly difficult to teach Balinese the sole endeavor of Sanggar Warini alone. Arini ac- dance (Bali-barihan) using traditional instruction tively recommends Dasar to other sanggars, makes methods. Thus Dasar, which was tailored to this envi- instructional DVDs, and conducts Dasar workshops ronment, was proposed. Dasar was also intended to for instructors. By widely disseminating her methods establish a new standard for all types of Balinese in this way, she helps to establish a single standard for dance, such as a uniform instruction method and the parts that tend to be unclear due to differences presentation of basic movements. The dance popula-

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tion has increased significantly compared to when cause it contains this type of background history. only select children went on to become dancers. With In 2015, Bali province successfully applied for Ba- the presence of so many sanggar and the popularity linese dance to be recognized as intangible cultural of lomba and the Bali Art Festival (Pesta Kesenian heritage through UNESCO. Properly speaking, nine Bali)*10, many dances are unveiled each year. With the Balinese dances were thus recognized as traditional. success of these, one is given the impression that Ba- This includes three representative dances that are fea- linese dance is flourishing. However, this is the very tured for each of the three forms (Wali, Bebali, and reason why problems with instruction methods, diver- Bali-balihan), all of them representing different dis- sification of dance, and similar difficult-to-resolve is- tricts. Looking at a map, this covers all of Bali prov- sues arise. These are scenarios that were unheard of in inces eight regencies and lone city. These current eight the days when dance was taught to a limited number regencies have inherited the foundations of the eight of student and are certainly unavoidable if further de- historical kingdoms; it is clear that the application was velopment of dance is sought. made in a way that valued the unique characteristics Incidentally, unlike Bali-balihan, the category of of each area. We could say that at the same time that Wali entails tight restrictions. As such, Wali has been the “effort to advance [Balinese dance] while conserv- preserved without influence from any new dances or ing its diversity” was formally recognized, Balinese other cultures. Wali is a secret ceremony and it can’t people themselves had been thinking that those things be checked about all dances of Wali. But there is also should be reaffirmed. A clear effort has been made to a report that its environment has no big changes.*11 recognize and protect diversity while categorizing ele- Although traditional Wali dance has been preserved, ments into the old and the new to further promote most people who dance Wali live in present-day Bali dance. Initially, it may seem as though Dasar adopted and thus encounter both Bali-barihan and other as- an instructional method that did not previously exist. pects of a globalizing Balinese society. Thus, the is- However, this entails more than a mere proposal for sues facing Bali-barihan are not entirely irrelevant to effective learning. That is, it aims to further advance Wali dance. In fact, many children learning Bali- the art while recognizing and protecting diversity, a balihan also engage in ritual Wali dancing. It is likely concept that is very similar to the aim of Balinese very important for these children to obtain a firm dance as a whole. Dasar may, therefore, make a posi- grasp of Balinese dance basics. tive contribution to the transmission and advancement Another way to preserve these dances is by restrict- of Balinese dance. ing the creation of new compositions. However, this has not happened in the context of Balinese dance. Acknowledgments Bali has always adopted new elements in line with the This paper summarizes the results of “The Transformation of Dance Instruction in Bali, Indonesia,” a research project that re- times to enhance its culture. An example of this can ceived special support from Seijo University. be seen in the Creole culture, which was created by incorporating Western culture into Balinese culture Notes during the Dutch colonial period (Yamashita, 1999). *1 These dances are performed for specific rituals at the most sacred temple spaces. Many say that a “culture-led development strategy” *2 In the Indonesian language, tari means “dance” and dasar promoted by the authorities and other interested per- means “basic.” sons has been behind this since the 1930s (Honda, *3 I stayed in Densapar from September 2011 to February 2012, during which I conducted this study. Afterwards, I stayed in 1998). Policy measures have been taken to protect and Denpasar for about a week each in June 2012, August 2013, revitalize Bali Island culture as a whole, which has September 2014, March 2016, March 2017, and August 2017, developed through its foundations in rice cultivation; during which I continued my investigation. this is the both the basis of the culture and Balinese *4 Generally, sanggar refers to dance or a gamelan music group. In this paper, it refers to the dance group. Now, children learn . Contests such as lomba desa adat (custom- the dance belong to there. ary) and lomba subak (irrigation organization) are also *5 Lomba refers to a dance or music contest. held in addition to the Bali Art Festival mentioned *6 The quality of Arini’s leadership and the fact that so many above (Yamashita, 1999). Arini, who is now in her Sanggar Warini students have won lomba awards have been described in previous studies, and her sanggar remains fa- 70s and is referred to as a master of Balinese dance, mous in Bali (Wisnuari, 2016). never rejects the idea of new creative pieces. In fact, *7 There is no predetermined age at which learning begins. she proposes an instructional method like Dasar be- However, most students begin formal instruction between

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four and five years of age. While some students begin as late [Bali, island of dance]. Tokyo: PARCO syuppan. as their first few years of elementary school, nearly nostu- Wisnuari, Ida Ayu Made Praba. (2016). Penggunaan rangsang au- dents begin once they have reached higher grades. There are ditif dalam pembelajaran tari bali di Sanggar Warini Denpasar also some cases in which girls under four years of age ac- [The use of auditory stimulation in dance learning at Sanggar company their sisters to their lessons to stand behind while Warini in Denpasar]. Graduation thesis for the Indonesian Insti- imitating and dancing, but this does not count as formal par- tute of the Arts Denpasar. (in Indonesian) ticipation. Yagi, R. (2019). Balitou no dentoukeisyo ni miru kodomo no *8 There is no musical score in Bali gamelan, which is the mu- kasseikouchiku: seibutsugakuteki bunkajinruigaku no sitenkara sic of Balinese dance, with oral traditions handed down at [Activated building of the child in traditional succession in Bali: venues where gamelan is taught (Minagawa, 2010). There are From the viewing of the biology-like cultural anthropology]. also certain situations were one-of-a-kind rhythms are prac- Ebisawa, T (eds.), Sekaiisan Bali no bunkasenryaku [Cultural ticed, and these are difficult to measure by Western standards. strategy in world’s cultural and natural heritage Bali] (pp.238- It is therefore, more convenient to hum with the music rather 267). Tokyo: Bensei syuppan. (in Japanese) than count the beats. Yamashita, S. (1999). Bali kankoujinruigaku no lesson [Bali, tour- *9 It is unclear exactly what kind of special privileges these par- ism anthropology lesson]. Tokyo: Tokyodaigakusyuppankai. (in ents received. Japanese) *10 The Pesta Kesenian Bali is an art festival held at the Denpas- ar Art Center every year for one month beginning in mid- The details and the features of Dasar described in section 4 and June. Numerous dance, music, and theatre groups from Bali section 5 of this paper are based on the contents of my previous and other Indonesian islands gather to perform. The 2019 fes- works. Therefore the following reference is added. tival is the 41st such event. Many of the spectators are Balinese and Indonesian, and it is one of the biggest events Kokuho, M. (2019). Indonesia Balitou ni okeru buyou shidouhou: of the year for Balinese performers. denshoubamen no henyou to Dasar shidouhou no dounyu [The *11 Kawai reported that, in town in Karagasem Regency, the instruction method of dance in Bali, Indonesia: A change in the ritual dance Rejang has been passed down in the same form method of transmitting Balinese dance and the Dasar instruc- for 200 years (Kawai, 2019). tion method]. Laboratory of Tsuneo Sogawa (eds.), suport jinruigaku no sekai: Waseda no madokara [The world of sport References anthropology: From the window of Waseda] (pp.64-78). Tokyo: Arini, Ni Ketut. (2012). Teknik Tari Bali [Technique of Balinese Nanairosya. (in Japanese) dance]. Denpasar: Yayasan Tari Bali Warini. (in Indonesian) Bandem, I Made., Rota, Ketut., and Suarditha, I Nengah. (1983). Gerak Tari Bali: Laporan Penelitian [Motion of Balinese dance: Name: Research Reports]. Denpasar: Akademi Seni Tari Indonesai. (in Mami Kokuho Indonesian) Affiliation: Covarrubis, M. (1991). Balitou (K. Sekimoto Trans.). Tokyo: Hei- Faculty of Social Innovation, Seijo Univer- bonsya. (Original work “Island of Bali” published 1936) sity Djayus, I Nyoman. (1980). Teori Tari Bali [Theory of Balinese Dance]. Denpasar: CV. SUMBER MAS BALI. (in Indonesian) Dunbar-Hall, P. (2011). Children’s learning of music and dance in Bali: An ethnomusicological view of the cultural psychology of music education. In M. Barrett (Ed.), A cultural psychology of music education (pp.17-40). New York: Oxford University Address: Press. Seijo 6-1-20, Setagaya-ku, Tokyo 157-8511, Japan Honda, I. (1998). Balitou no bunkasyudougatahattensenryaku ni Brief Biographical History: miru dentoubuyou no saikaihatsu to ethnicity [Redevelopment 2017- Faculty of Social Innovation, Seijo University and the ethnicity of the traditional dance seen in culture-led de- 2015-2017 Faculty of Humanities, Department of Health and velopment strategy in Bali]. J. Health Phys. Educ. Rec., 48(3): Physical Education, Sophia Univeisity 201-206. (in Japanese) 2009-2013 Doctoral Program, Graduate School of Sport Sciences, Kawai, N. (2019). Basanaras mura no hounoubuyou Rejang [Votive Waseda University dance Rejang in Basanaras village]. Ebisawa, T (eds.), Sekaiisan Main Works: Bali no bunkasenryaku [Cultural strategy in world’s cultural and •Kokuho, M. (2019). Indonesia Balitou ni okeru buyou shidouhou: natural heritage Bali] (pp.114-119). Tokyo: Bensei syuppan. (in denshoubamen no henyou to Dasar shidouhou no dounyu [The Japanese) instruction method of dance in Bali, Indonesia: A change in the McIntosh, J. (2006). How dancing, singing and playing shape the method of transmitting Balinese dance and the Dasar instruction ethnographer: research with children in a Balinese dance studio. method]. Laboratory of Tsuneo Sogawa (eds.), suport jinruigaku Anthropology Matters jounal. 8(2): 1-17. no sekai: Waseda no madokara [The world of sport anthropolo- Minagawa, K. (2010). Indonesia geinou heno syoutai: ongaku, gy: From the window of Waseda] (pp.64-78). Tokyo: Nanairosya. buyou, engeki no sekai [Invitation to Indonesian performing (in Japanese) arts: The world of music, dance and theater]. Tokyo: Tokyodo- Membership in Learned Societies: syuppan. (in Japanese) •Japan Society of Physical Education, Health and Sport Sciences Spies, W. and Zoete, B. (2002). Dance and Drama in Bali. Singa- •Japan Society of Sport Anthropology pore: Peliplus Edition, (1938. London: Faber and Faber). •Japanese Society for Dance Research Tokai, H., Otake, A., and Tomari, S. (1990). Odoru shima Bali

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