Balinese Dance Kecak - Essay Example

Kecak Dance Introduction Kecak is a Balinese 45 minutes long dance comprising of varied fascinating aspects besides the core story, which the performers narrate mostly via their actions (Ubud). Since its inception in 1930s, the dance’s sole performers were males though lately from the year 2006 it has included both genders. However, presently the male gender still dominates the entire performance due to their core role, which they normally play. The key composers of this dance were Wayan Limbak and Walter Spies (was German painter), whereby they incorporated an artistic touch to make the entire performance fascinating. This is apparent from the male gender’s checkered costumes won from the waist besides the performers’ array as they do the dance. From its inception to date, the dance has earned itself an incomparable fame globally owing to its magnificent aspects that comprise the entire performance, which this essay seeks to elaborate. Kecak Dance comprises an amalgamation of various Indian cultural exorcism movements and themes whose purpose entailed to narrate Ramayana account (Ubud). The dance represents 1930s’ work done by both Wayan Limbak and Walter Spies, where due to their immense and varied knowhow, emerged with a dance that is of its own category (Cormier). These composers sourced ideas from the Indian culture whereby they merged them with the knowhow they possessed with the intention of narrating Ramayana account by acting. This is manifested from the various aspects depicting Walter Spies’ artistic touch, for illustration, checkered pants, varied consumes having dragon images, and the performers’ fascinating array while dancing. The dance’s creators intended to present their composition to the Western tourists, hence prompting Wayan Limbak to popularizing it globally. Therefore, Wayan Limbak ended up forming troupes meant to organize numerous functions globally with the intention of reaching many people (Cormier). Kecak dance is one of the numerous Indian expressions of Ramayana account. Principally, this is Hindu epic where artists from its inception have devised numerous ways to represent it, for illustration, carving and even using canvas (Bakan 88). The account starts with the arrival of Rama accompanied by his wife Sita and immediate brother Laksmana in the jungle. Owing to the Rama grandmother’s trickery, the trio found themselves exiled to the Dandaka forest where they thought would offer them privacy they needed. Conversely, all their actions and missions in the forest were under the observation of demon Rahwana. The demon started lusting after Sita where it sought ways of separating the trio to abduct her from the two men. The accomplishment of this mission was via his prime minister who transformed himself to a golden deer to lure Rama away from the wife. Then the demon approached Sita in the form of a hungry priest desperately in need of assistance (Bakan 86). Finally, the trick succeeded, where Rahwana abducted the wife and proceeded with her to his palace. Rama and his brother on realizing what happened to Sita, they embarked on a search mission intended to rescue her from the demonic kingdom with the aid of Sugriwa’s monkey army. This is evident from the dance’s certain movements that are similar to those of monkeys, as they try to put off fire while engaging Meganada until they defeated him. Hence, the story acts as the theme if the dance where performers narrate it using actions besides chanting (Nettl et al 89). Initially, in 1930s the Kecak dance’s performers were only men, though as years progressed the organizers included women. Since, some of its scenes’ roles entailed female performers, for instance, the Sita’s position who was Rama’s partner. The most intriguing aspect of the Kecak dance is its unique mode of staging. Since, the audience without proper knowledge of its thematic account can perceive it as being illogical and loose interest. Therefore, the organizers mainly ensure there is adequate literature material for this purpose if they will not have time to talk to the audience (Bakan 85). Another unique aspect of this dance encompasses its lack of instrumental accompaniments. The bare-chested men in this dance act as choir and a non-stop accompaniment besides performing certain actions that help in narrating the account (Vaisutis 273). Mainly, this entails creating war settings as the key characters are performing or engaging each other at the center. Hence, enabling the audience to figure out what the key characters are undergoing or doing in each account’s phase. The men’s performing attires encompass checkered pants worn from the waist besides producing chak-a-chak-a-chak noise (Vaisutis 273). Throughout the performance, the bare-chested also serve the purpose of the monkey army, which aided Rama to rescue his wife from the demonic king (Vaisutis 273). Hence, the swinging of bodies and waiving hands, whereby the latter symbolizes intervention of demonic powers or gods as they engage Rahwana together with his cronies (Vaisutis 273). Mainly, according to some interpretations concerning Kecak dance, some artists deem this is an engagement between the evil and good. Rama together with the monkeys’ army (led by Hanuman who is in white attire) represents the good in the society fighting the evil. Rahwana owing to his lustful motive that prompted him to abduct Sita and took her to his palace, prompts him to be representative of evil (Cormier). The vocal sounds of the monkeys’ army rises to the crescendo as they surround their evil counterparts, and recedes when other actions involving sound are in progress (Bakan 83). For example, demonic engagements characterized by fire, which symbolize powers possessed by both warring sides. Each performer in this dance has a distinct role except the monkeys’ army, which has more than one task. The latter besides being the choir and providing a non-stop accompaniment during the dance, it also engages in the war, in support of their leader (Hanuman) (Hewitt 78). However, their support during the dance seems indirect coupled with using their voice to threaten their opponents. Rama in this dance is at the center wearing green costumes, as he pursues the yellow golden deer before realizing abduction of his partner by the demonic king. This is regardless of leaving her with his brother, who assured Rama, he stay with her because they were in the forest. This drama draws immense admiration from the audience besides altering their moods with superbly synchronized vocal sounds of the army (Bakan 89). Hence, making the dance acts as a triumph of style and mood in this context, which is evident from the viewers’ faces. It turns the entire audience like children watching with wide-open eyes. Presently, Kecak dance because of its uniqueness especially in Indonesia has undergone certain evolutions besides embracing some alterations. These are contrary to its former artists’ ideas where the core purpose entailed to narrate the Rama’s account, show the Indian culture and entertain the audience. Hence, this was Limbak’s idea to tour the world with an intention of showing the uniqueness of the Indian culture and their beliefs. Contrary to the past, in both Bona and Batubulan villages, people prefer the Kecak dance held approximately at 6:30 pm during the evening. Probably, this is to emphasize the essence of fire, which according to the storyline it symbolizes supernatural powers at war (Bakan 83). Besides, this adjustment contributes to the heightening intriguing aspect of the dance. Since, its core theme entails fierce engagement characterized by sparks seen especially when one of the performers is overwhelmed and starts kicking burning balls of fire. The other alteration presently emphasized by this dance’s natives encompasses serving as a ritual practice. However, this practice used to exist before though its emphasis was not as it is currently (Ubud). Natives deem when this dance’s performance takes place in the temple it acts as an effective way to exorcist demons besides cleansing the place. According to Balinese beliefs, the dance usually enkindles imperceptible power to invade one of the members while chanting and leaving him or her to be in a trance. Afterwards, offering sacrifices commences at the venue, whereby its core aim is to ensure the place is clean or free of demonic interferences. Consequently, it is intriguing how the dance that comprised of the ideas of two artists turning to be a ritual practices (Nettl et al 89). This is especially in the way some of the natives have ended up utilizing it for exorcism purpose, whereas the practice was nonexistent during its inception (Bakan 90). Since, the entire Dance’s composition encompassed artists’ ideas, which they merged after borrowing diverse aspects from the Indian culture. In addition, despite the Ramayana epic being the theme of the dance, it is a borrowed and incorporated aspect meant to entertain the viewers, but not for exorcism. Conclusion Kecak is a 45 minutes Balinese dance characterized by incorporation of diverse aspects borrowed from the Indian culture. Contrary to numerous dances, this dance’s theme is a story involving two warring sides. According to the interpretations of some its audiences, the dance is about the war between good and evil despite both sides involving evils spirits. Rama who is the storyline’s protagonists loses his wife to the demonic king while in the forest through abduction. In the forest, the trio (Rama, his brother and Sita) unaware they were under surveillance of the demonic king (Nettl et al 89). The king due to his lust for Sita devises plan with his prime minister on how he will abduct her without engaging the two men (Vaisutis 273). This was via utilizing a trick where the prime minister turns to a golden deer, which Sita admires and forces the husband trap to the animal for her. Eventually, the trick succeeds where the king abducts her and proceeds to the palace. The dance is about how the two warring sides engaged each other where the Rama’s side sought aid from Monkey army to rescue Sita, whereas the demonic king fought to retain her (Bakan 83). Therefore, the seen fire in the dance symbolizes powers besides the two sides utilizing physical means to overcome each other. The performance of the dance comprises of bare-chested men with checkered pants around worn their waists (Vaisutis 273). Besides the key characters that perform at the center, the bare-chested men’s roles include acting as the monkey army, altering the battlefield environment and the dance’s choir members. The latter’s role entailed chanting noises that accompanied the dance because it did not have any percussion involvement. Therefore, the bare-chested men bear the mandate of varying the rhythm of the dance coupled with producing certain noises depending on the action of the key characters (Ubud). This is evident when the key characters are either hitting or dragging their opponents, whereby the choir aligns the noise with the actions. In addition, the bare-chested men during the entire dance keep on swinging their bodies (Vaisutis 273). This is for men to reposition themselves during the performance besides exhibiting spiritual intervention during the engagement, which is evident by raising their hands. Presently, the dance has evolved compared to the past where the natives in this region have resulted to utilizing it for exorcism practices (Hewitt 67). The natives deem due to diverse aspects borrowed from the Indian culture that comprises this dance, it possesses spiritual that may be effective if used for exorcism purposes. To some audiences and especially those equipped with adequate information regarding its inception, the current reformers’ ideas are illogical. Since, its entirety encompasses merging of ideas coupled with certain inclusion of artistic touch especially from their former creators. Besides, the second dance’s alteration, which the natives have incorporated include dictating when the dance ought to occur. This is in the evening starting half past six especially in Bona and Batubulan. Probably, this is because of its emphasis on fire. Since, it is an essential aspect in the dance representing demonic confrontations between the two sides (Vaisutis 273). The fire also heightens the intriguing aspect of the dance especially via its illumination. This is clear when viewing the bare-chested men’s shiny bodies as they maintain their movements while cheering on the key characters. Finally, the dance has also included the female gender owing to some sections’ tasks, for instance, the role of Sita. This is divergent to the past where the male gender assumed all the characters’ tasks. Work Cited Cormier,Travis. “Kecak Fire Dance.” 2012. Uluwatu, Bali, Indonesia: National Geographic. Web. 13Th December 2012. Hewitt, Michael J. Music Theory for Computer Musicians. Boston, MA: Course Technology, Cengage Learning, 2008. Print. Nettl, Bruno. Rommen, Timothy. Capwell, Charles. Wong, Isabel K.F. Turino, Thomas. Bohlman, Philip. Dueck, Byron. Excursions in World Music. University of Illinois Urbana-Champaign: Pearson, 2011. Print. Ubud, Shine. “Kecak Fire and Trance dance.” 2012. Taman Kerja Community. Web. 13Th December 2012. Bakan, Michael B. "The Abduction Of The Signifying Monkey Chant: Schizophonic Transmogrifications Of Balinese Kecak In Fellini's Satyricon And The Coen Brothers' Blood Simple." Ethnomusicology Forum 18.1 (2009): 83-106. Web. 13 Dec. 2012. Vaisutis, Justine. Indonesia. Melbourne [etc.: Lonely Planet, 2007. Print. Read More