Bali Traditional Dance

Barong-Dance-Performance-

1.Barong Dance

Barong- is a character in the mythology of Bali. He is the king of the spirits, leader of the hosts of good, and enemy of Rangda in the mythological traditions of Bali. Banas Pati Rajah is the fourth "brother" or spirit child that accompanies a child throughout life. Banas Pati Rajah is the spirit which animates Barong. A protector spirit, he is often represented by a lion, and traditional performances of his struggles against Rangda are popular parts of Balinese culture. The Barong Dance is often portraited with two monkeys

The Barong is the magical protector of Balinese villages. As & lord of the forest with fantastic fanged mask and long mane, he is the opponent of Rangda the witch, who rules over the spirits of darkness, in the never ending fight between good and evil. During the Galungan Kuningan festivals, the Barong (there are many types, including barong ket, barong macan, and barong bangkal) wanders from door to door (nglawang) cleansing the territory of evil influences.

the Barong and Kris dance is a battle between good and evil spirit. Barong can take various forms but in this dance he takes the form of the dance Barong Keket, the most holy of the Barongs. The Barong Keket is a strange creature, half shaggy dog, half lion and is played by two men in much the same way as a circus clown-horse. His opponent is the witch Rangda.

the show can be seen at Batubulan village everyday at 09.30 am


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2.Kecak & Fire Dance

Bali Kecak and Fire Dance Performance, Not known exactly where Kecak dance originated and which was first developed, but there are some kind of agreement on the Balinese Kecak was first developed into a performing arts in the village of Bona, Gianyar, as additional knowledge Kecak was originally a song or music that is resultant from a combination sounds that make up melodies that are usually used to accompany the sacred dance Sanghyang. And can only be staged in the temple. Then in the early 1930s by artists from the village of Bona, Gianyar trying to develop a Kecak dance by taking the story of Ramayana who danced as a substitute for Sanghyang Dance so this dance could eventually be displayed in public as a performance art. Part of the Ramayana story in which the first is taken as Goddess Sita was abducted by King Ravana.

As a Kecak dance performance is supported by some very important factor, and in the Kecak dance performance presents the dance as an introduction to the story, of course, vital music to accompany the dancers movements. But in the Kecak Dance, the music generated from a combination sounds of members “cak” which were about 50-70 people all of them will make music in akapela. A person will act as a leader who gives the tone early, someone else acting as a suppressor in charge of pressure high or low tone, someone else acting as a solo singer, and someone else will act as the mastermind behind that to deliver the story. the dancers in the Kecak dance motion should not follow the movement of dance accompanied with gamelan. So in the Kecak dancethis gestures of the dancer is more relaxed because the main priority is the storyline and the sound mix.