Art for Balinese dance can not be separated. Balinese dances such as Legong, Janger, Line, Kecak, is the sacred dance and the boom experienced in the Balinese dance 1930.Bagi can not be separated from any religious activity, but assuming this does not mean everyone can dance in Bali. There are indeed born to have this talent, usually the mother or father and grandfather used to be a dancer.
It is often said by experts that the art cultural arts and culture tend to be created as a gift to the great creator colored with a high sense of devotion towards the art. If a traditional art can generate or emit vibrations Taksu attraction then it can be understood because when driven by a desire to create works that offer good, far from the mind ego copyright and selling value.
Works of art and culture at first appear as a liability that should be carried out by certain professional groups in an effort to offer the perfect devotion to God through religious activities. Dance and musical expression of happiness was created to reveal the decline of the Gods while welcoming ceremony at Temple, which was translated in fine art paintings and sculptures always appear in various completeness sajen as a medium to connect the spiritual communication while carol singing and the puja echoed to express praise for the welfare of the delegated by the gods.
Balinese society, in addition to arts actor, is also an art lover who is very passionate in art. In theater arts, various play that underlies the creation of art are well packed so easily enjoyed and listened to fill their thinking insights. The leaders of the past were quick to see the art activity as an effective media to convey messages to the people. Inevitably thriving literary arts provide a clear direction to the other branches of art. Therefore, almost in all branches of art, then there is clearly division between sacred to the profane arts, and arts to the performing arts offerings.
Balinese arts and culture, from the days of history, has become an integral part of the everyday people of Bali. When the time of the power of kings is very strong, different branches of arts and culture is king and the royal family kelangenan. When patterns of governance and more stable life for people in Bali on the basis of Hindu philosophy, the art of Balinese culture was shifted toward art offerings.
In Balinese daily in various formats, continues to mark the era of cultural arts. No terpungkiri, on akhrnya, art for damping and the Balinese culture is able keep growing in a variety of turbulent era. At once the Dutch colonial era, the art of Balinese culture continued to grow following the era. Architecture, art, dance, musical and various other branches of art as not spared by the war Puputan in Badung, Klungkung and Tabanan District Margarana.
Art menenima friendly Balinese architecture with influence beyond aesthetics. Bale Maskerdan in Puri Karangasem, Wolanda Patra, Patra, Gina, and Kuta Patra Egyptian are forms of external ornaments which are absorbed by the undagi sweet. Dance, musical and visual arts uleh known even outside world during the dark days of Dutch colonialism in Bali.
When contact with a foreign nation entered the era of tourism in Bali in mid-1960 decade, slowly but surely a variety of entertainment facilities for tourists start showing interest tourism. Balinese arts and culture in the redesign was developed and again for the sake of tourism. Packaging the performing arts (dance and musical), no longer refers to the message and story to deliver the shift in packaging but against the clock.
Dance in Bali closely associated with religious processions. Even reliable grip that dance is as old age by determining the order of the Hindu religion. Ciwa deity believed by Hindus as the Sang Hyang Tunggal also portrayed as. "The God of Dance" with a degree Ciwa Nataraja dancing in the attitude which is defined as the movement when filling power created the universe.
At first, the dances are occupied by the pragina (dancer) is a kind of sacred dance as part tenpisahkan with ceremonies and processions dipegelarkan only when the religious ceremony held at Temple. Further growth is also kind of dance that is a complement of a religious procession, and even further developed into a medium of public communication as well as an entertainment center.
Of the types and functions; art of dance in musical arts follows a broad sense (gamelan) who escorted the three groups can be disaggregated. namely:
Dance Master (Religious)
The following is a type of dance performed in connection with the musicians who performed a religious ceremony at a temple. Dance Guardians / sacral is generally performed in the middle of the page Pura (Bowel / Purian) and will not be performed on other occasions. Tools sepenti dance clothing, masks or barong also very sacred by the citizens of Senta penyungsungnya stored in a temple so that the required existence of a special ceremony when it was taken from its storage place, when danced well in the store back in place.
One example is The Mask Dance Mask Sang Hyang Hyang or existing in Ketewel Village, Gianyar. Masks depicting this woman's face mask making at nicknamed Widyadari. This dance is performed only once every six months by her children during a ceremony at the Buddhist Wage Pagerwesi. In contrast to the masks in general in Bali use a strap in the head during use, mask use canggem Sang Hyang as a drag to be bitten by the dancers have to use a piece of cloth in the hands of his right to help improve the position of the mask while dancing if required.
If Mask Sang Hyang Dance danced by the kids (not menstruating), at Temple Gianyar Samuan Three-time Bedulu held ceremonies are always held dance or dance Rejang sutri who danced by the Sutri, ie women who have elderly parents who no longer periods (monopouse). From the two examples above illustrated that not only requires a sacred dance and devices that holy place but also the dancers.
Bebali dance (ceremonial)
Bebali dance is a type of dance performance which was also held at a religious ceremony and dance Bebali generally performed with a story relating to the implementation of the ceremony. Pajegan Mask Dance, Mask Panca, dance Dance Drama and Puppet for example, is a type of dance Bebali most often performed. As an accompaniment of a ceremonies. Dance Bebali usually staged in the Middle Jaba which constitutes the space between the outer courtyard (Jaba Side) with the main page (Offal) of a temple.
Balih-balihan Dance (performance)
Art-balihan Balih an outgrowth of Mayor and Bebali art intended as a means of entertainment with plays and dance and drum creations are more free. Often this type of wear balihan Balih-play-plays that were popular in the community when it opens an opportunity for the entry of emotion into the performance the audience is part of the same importance to the dancer and drummer in the so-called wewalen. Similarly, dance, gamelan music was sacred to the profane have levels that determine their function in the play.
It is often said by experts that the art cultural arts and culture tend to be created as a gift to the great creator colored with a high sense of devotion towards the art. If a traditional art can generate or emit vibrations Taksu attraction then it can be understood because when driven by a desire to create works that offer good, far from the mind ego copyright and selling value.
Works of art and culture at first appear as a liability that should be carried out by certain professional groups in an effort to offer the perfect devotion to God through religious activities. Dance and musical expression of happiness was created to reveal the decline of the Gods while welcoming ceremony at Temple, which was translated in fine art paintings and sculptures always appear in various completeness sajen as a medium to connect the spiritual communication while carol singing and the puja echoed to express praise for the welfare of the delegated by the gods.
Balinese society, in addition to arts actor, is also an art lover who is very passionate in art. In theater arts, various play that underlies the creation of art are well packed so easily enjoyed and listened to fill their thinking insights. The leaders of the past were quick to see the art activity as an effective media to convey messages to the people. Inevitably thriving literary arts provide a clear direction to the other branches of art. Therefore, almost in all branches of art, then there is clearly division between sacred to the profane arts, and arts to the performing arts offerings.
Balinese arts and culture, from the days of history, has become an integral part of the everyday people of Bali. When the time of the power of kings is very strong, different branches of arts and culture is king and the royal family kelangenan. When patterns of governance and more stable life for people in Bali on the basis of Hindu philosophy, the art of Balinese culture was shifted toward art offerings.
In Balinese daily in various formats, continues to mark the era of cultural arts. No terpungkiri, on akhrnya, art for damping and the Balinese culture is able keep growing in a variety of turbulent era. At once the Dutch colonial era, the art of Balinese culture continued to grow following the era. Architecture, art, dance, musical and various other branches of art as not spared by the war Puputan in Badung, Klungkung and Tabanan District Margarana.
Art menenima friendly Balinese architecture with influence beyond aesthetics. Bale Maskerdan in Puri Karangasem, Wolanda Patra, Patra, Gina, and Kuta Patra Egyptian are forms of external ornaments which are absorbed by the undagi sweet. Dance, musical and visual arts uleh known even outside world during the dark days of Dutch colonialism in Bali.
When contact with a foreign nation entered the era of tourism in Bali in mid-1960 decade, slowly but surely a variety of entertainment facilities for tourists start showing interest tourism. Balinese arts and culture in the redesign was developed and again for the sake of tourism. Packaging the performing arts (dance and musical), no longer refers to the message and story to deliver the shift in packaging but against the clock.
Dance in Bali closely associated with religious processions. Even reliable grip that dance is as old age by determining the order of the Hindu religion. Ciwa deity believed by Hindus as the Sang Hyang Tunggal also portrayed as. "The God of Dance" with a degree Ciwa Nataraja dancing in the attitude which is defined as the movement when filling power created the universe.
At first, the dances are occupied by the pragina (dancer) is a kind of sacred dance as part tenpisahkan with ceremonies and processions dipegelarkan only when the religious ceremony held at Temple. Further growth is also kind of dance that is a complement of a religious procession, and even further developed into a medium of public communication as well as an entertainment center.
Of the types and functions; art of dance in musical arts follows a broad sense (gamelan) who escorted the three groups can be disaggregated. namely:
Dance Master (Religious)
The following is a type of dance performed in connection with the musicians who performed a religious ceremony at a temple. Dance Guardians / sacral is generally performed in the middle of the page Pura (Bowel / Purian) and will not be performed on other occasions. Tools sepenti dance clothing, masks or barong also very sacred by the citizens of Senta penyungsungnya stored in a temple so that the required existence of a special ceremony when it was taken from its storage place, when danced well in the store back in place.
One example is The Mask Dance Mask Sang Hyang Hyang or existing in Ketewel Village, Gianyar. Masks depicting this woman's face mask making at nicknamed Widyadari. This dance is performed only once every six months by her children during a ceremony at the Buddhist Wage Pagerwesi. In contrast to the masks in general in Bali use a strap in the head during use, mask use canggem Sang Hyang as a drag to be bitten by the dancers have to use a piece of cloth in the hands of his right to help improve the position of the mask while dancing if required.
If Mask Sang Hyang Dance danced by the kids (not menstruating), at Temple Gianyar Samuan Three-time Bedulu held ceremonies are always held dance or dance Rejang sutri who danced by the Sutri, ie women who have elderly parents who no longer periods (monopouse). From the two examples above illustrated that not only requires a sacred dance and devices that holy place but also the dancers.
Bebali dance (ceremonial)
Bebali dance is a type of dance performance which was also held at a religious ceremony and dance Bebali generally performed with a story relating to the implementation of the ceremony. Pajegan Mask Dance, Mask Panca, dance Dance Drama and Puppet for example, is a type of dance Bebali most often performed. As an accompaniment of a ceremonies. Dance Bebali usually staged in the Middle Jaba which constitutes the space between the outer courtyard (Jaba Side) with the main page (Offal) of a temple.
Balih-balihan Dance (performance)
Art-balihan Balih an outgrowth of Mayor and Bebali art intended as a means of entertainment with plays and dance and drum creations are more free. Often this type of wear balihan Balih-play-plays that were popular in the community when it opens an opportunity for the entry of emotion into the performance the audience is part of the same importance to the dancer and drummer in the so-called wewalen. Similarly, dance, gamelan music was sacred to the profane have levels that determine their function in the play.
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