12.03.2007

Bali's "Mother Temple"

Posted by mahasatwika at 7:59 PM


High on the slopes of Bali's Mount Agung sits Besakih Temple, widely referred to as the "Mother Temple" of Hinduism in Bali. Besakih is the largest temple of the island's 11,000 or so Hindu temples; its 35 shrines and halls draw devotees from all over Bali in massive numbers each year. The world is lucky to have Besakih. In 1963 Mount Agung, a volcano, erupted and destroyed several nearby villages. Besakih was untouched.
The temple is generally agreed to date back to prehistoric times in Bali. It is named for Naga Besukian -- the dragon-god thought by pre-Hindu Balinese to inhabit this, the highest mountain in Bali. But at the beginning of the 11th Century Besakih became the state temple at a time when Bali was no mean kingdom. It has remained the state temple in some form or another ever since and is state supported today.
Like most Balinese temples, Besakih is not a closed building but a mostly open-air affair. It is made up of courtyards with altars and shrines devoted to a number of gods. And those gods have better things to do than just hang around a temple; the Balinese believe that the gods visit a temple on particular dates -- and on those dates the Balinese hold festivals to honor (or placate) the gods. Of all the temples on Bali six are "supremely holy:" Pura Besakih, Pura Lempuyang Luhur, Pura Gua Lawah, Pura Batukaru, Pura Pusering Jagat, and Pura Uluwatu. Of these, Besakih stands higher than the others -- not because it sits some 3000 or so feet above the ocean on the mountain's side, but because it is more sacred to the Balinese. It is said to be the only classless, casteless temple on the island where any Balinese Hindu can come to worship. Bali's Hinduism is unique. Many scholars believe it gives us a view of Hindu beliefs much as they existed 1500 to 2000 years ago.
Hinduism was once the dominant religion in much of Southeast Asia and empires in the region where ruled by god-kings -- empires like Funan, Sri Vijaya, Angkor, and Bali. The Hinduism of Bali is less fragmented than that of modern India. Balinese are generally said to worship one god, Brahman, who manifests himself in various forms or personalities. Lee Arnold, in his article on The Temples of Bali, quotes an anonymous Balinese who explains their views: "I am just one person; someday I might be a farmer, another a driver, yet another a cook, but I am still only one person." In the same way the Hindu "gods" Siva and Vishnu (Siwa and Visnu in Balinese) are really just different manifestations of the one god, Brahman, in Balinese theology. While this may be true, temples generally end up serving as places where one of Brahman's manifestations is worshipped; and Besakih is dedicated largely to Siva worship.

 

11.26.2007

Classification of Balinese Dance

Posted by mahasatwika at 12:00 AM

Based on religious functions, Balinese dances can be categorized into three:


1. Wali (sacred) Dances

These dances are considered sacred, and must be performed in the inner court of the temple.

· Rejang
Danced by females, Rejang dance is a procession of those who have just barely learned to walk to those who can barely walk, moving in a slow and stately fashion towards the altar, twirling fans or lifting their sashes. Their costumes range from a very simple attire to an elaborate dress complete with headdress as you would likely find in Tenganan.

· Pendet
This dance is usually performed by married women, moving in very dignified and elegant way to carry and present offerings to the gods and the goddesses.

· Barong
Barong is probably the most well known dance. It is also another story-telling dance, narrating the fight between good and evil. This dance is the classic example of Balinese way of acting out mythology, resulting in myth and history being blended into one reality.

· Baris
Literally means warrior formation. Baris is a warrior dance usually danced by men. The movements are dramatic. It is hard to distinguish whether it is the dancer that follows the orchestra, or the other way around. You could say that they both go off into their own dimensions, yet at certain well-defined times meet to create an astounding tapestry. The dancers wear elaborate head decoration, from a gold-colored head band to leaves and strings of cempaka blossoms.

2. Bebali Dances

These dances are ceremonial, and usually performed in the middle court of a temple. In the spectrum of sacred and secular, these dances fall in the middle.

· Gambuh
Gambuh is a danced drama. It tells the courtly story of a Javanese prince in his quest for a beautiful princess.

3. Balih-balihan Dances

These dances are often considered secular and entertaining. They are performed in the outer court or even outside the temple.

· Janger
Janger is performed by young girls. Peacock crown shaped headwear made from intricately woven gold-colored, dried coconut leaves rests gallantly on their heads. The girls are open shouldered, dressed in a piece of cloth wrapped around the chest, and a batik wrap on the waist down. Most of the dances are performed sitting down, with highly coordinated hand, shoulder, and eye movements.

· Kebyar
Kebyar is usually danced by two women with beautiful, long, shiny black hair, accentuated at the top by a band of cempaka blossoms. Fans on one hand, they move dramatically. Feet are strongly grounded, and hands and feet move abruptly.

· Legong
The dance of legong tells a story. It is the most feminine dance. It is usually danced by two females before they reach puberty (in fact, they must retire by the time they reach puberty).

· Kecak
Kecak is a spectacular dance usually performed at night, surrounding a bonfire. The westerners called this dance The Monkey Dance, for the movements may remind us of monkey's movements. There can literally be one hundred or more bare chested men, sitting down on the ground surrounding the bonfire, led by a priest in the middle. The only music to accompany them are the beats of their palms hitting their chests, their thighs, or other parts of their bodies, or their claps, rhythmically accompanied by shouting and chanting.The dancers move in unison, creating a spectacular choreographic performance. Either hands stretched out, pulled in, rested on the shoulder of the next person, or waists gyrated left and right, etc.

 

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