Balinese Gender

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    By:

    I Made Sidia, SSP. M.Sn.

    I Made Widana, SSN.

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    Concept of Balance, Complimentary Opposites,

    and Gender in Balinese Hinduismand Balinese Performing Arts Aesthetics

    Ruwa Bhineda Complimentary Opposites

    Example ofBarongand Rangda

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    Male and Female Dancers

    Characters:

    Male Bebancihan Female

    Character Types:

    Halus Soft or refined

    Keras Strong or martial

    Kasar Coarse

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    Expressing Character Types through the Dance

    Position and Movements:

    Male and Female

    Halus (refined) Keras (strong) Kasar(coarse)

    Body position

    Feet position

    Hands

    Eye movement

    Expression

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    Continuum ofBebancihan Characters:

    Male characters performed by female dancers

    Margapati Dance (refined king of forest)

    Panji Semirang Dance (refined prince)

    Wiranata Dance (refined, but strong king)

    Teruna Jaya Dance (strong young man)

    Can be performed by both male or femaleDancer:

    Kebyar Duduk (dance in low position)

    (depicts both male and female qualities)

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    Trunajaya

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    Dance Demonstration:

    Kebyar Duduk (dance in low position)

    (depicts both male and female qualities)

    Baris (strong warrior)

    TopengorMasked Dance Demonstration:

    Topeng Keras (strong Prime Minister)

    Topeng Dalem (refined king)

    Bondres Wanita (female clown character)

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    TopengDancers and Dalangare traditionally

    male performers

    Why?

    Institut Seni Indonesia (Indonesian Arts Inst.)

    Musicians are also traditionally male

    Now, many womens gamelan ensembles

    found throughout Bali

    Sanggar CudamaniGirls Gamelan

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    AND THANKYOUTHANKYOU TO MY FAMILY

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    The rice-field

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    UCSC Kecak dance 1990Kecak dance

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    Kebyar Trompong

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    AND THANKYOUTHANKYOU TO MY FAMILY

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    Rice Harvest

    MYPLACE, MYFAMILY

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    STUDYING TO BECOME A DALANG PUPPET MASTER

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    LEARNING FROM M Y FATHER,

    HOW TO MOVE THE TREE OF

    LIFE - KAYONAN

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    SHADOW PUPPET

    PERFORMANCE

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    INFORMAL

    TEACHING

    BALI: ART AND CULTURE

    FORMAL

    TEACHING

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    STUDENTS LEARNING AT UNIVERSITY

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    LEARNING IN THE

    COMMUNITY

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    CHILDREN LEARN FROM THEIR PARENTS

    HOW TO MOVE THE WAYANG

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    Practising music for

    wayang ln the family

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    STUDYING TO BECOME A DALANG PUPPET MASTER

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    Learning by playing

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    Grandfather teaches his grandson

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    ORIGIN IN

    RELIGION:TEMPLE CEREMONIES

    HUMAN CEREMONY

    PRIEST

    ANCESTORS

    BAD SPIRITS: BUTA

    ORIGIN INRITUAL:

    FESTIVALS

    CELEBRATIONS

    CONTEMPORARYCOLLABORATIONS:

    NON-RELIGIOUS

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    Eka Dasa Rudra Ritual in Besakih

    :

    TEMPLE CEREMONY at

    BESAKIH MOTHERTEMPLE IN BALI

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    The many genres in Balinese theatre developedfrom ritual

    There are five different religious celebrations:

    for God, Ancestor, Priest, Human and lowerspirit

    And five ritual performances:

    Wayang puppet show,

    Topeng masked theatre,

    Kakawin (ritual reading) and kidung templechorus,

    Gamelan music and danceBanten temple offerings of flowers, fruit, riceand cake.

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    CEREMONIAL

    PERFORMANCE

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    2 HINDU STORIES FROM INDIA

    Rawana Kumbakarna Wibisana Surpanaka

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    Yudhistira

    KresnaBima

    MAHABHARATA

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    CLOWN

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    Topeng masked theatre

    Mask Hanoman

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    Mask Anggada

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    Ceremonial Performance

    Mask Dance

    Ceremonial Performance

    Mask Dance

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    Kakawin (ritual reading) and kidung temple chorus

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    Sanghiang Dedari

    RITUAL DANCE

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    GamelanM

    usicS

    emaradahana

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    Kendang

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    Banten temple offerings of

    flowers, fruit, rice and cake

    FESTIVA CE EBRATIONS

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    FESTIVAL CELEBRATIONS

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    Gianyar Regency Arts competitionGianyar Regency Arts competition

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    CONTEMPORARY

    COLLABORATIONS:

    NON-RELIGIOUS

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    THEATRE PRODUCTION

    MULTI MEDIA

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    MULTI MEDIA

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    Multimediamultimedia

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    WAYANG CONTEMPORER

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    KAYONAN INMODERN WAYANG PERPORMANCE

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    MODERN LIGHTS AND SHADOWPUPPETS

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