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- Balinese concept that helps maintain cultural identity
- proper place/time for every activity
- place-natural surroundings and spatial orientation
- time-overlapping calendats
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- religious ceremonies
- living
- dead
- gods
- demons
- sages
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- for temples' inauguration
- every 210 calendar days
- purification and exorcism
- invitation for demons to enter and be escorted out
- invitation to gods and ancestors
- entertainment period
- gods' sendoff
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- boisterous full atmosphere
- essential for success
- active participation of whole community
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- mountain
- inward
- cardinal north
- closter to gods and purity
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- toward sea
- outward
- cardinal south
- demonic forces
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- Bali part of in mid-14th century
- Java's last Hindu empire
- Hindu-Javanese nobles moved to Bali after fall to Demak
- musical traditions traced to Gelgel (pinnacle of Balinese arts after fall)
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- Indian epics
- cultural icons of SE Asia
- enacted in most forms of performance arts
- stories tell of Hindu pantheon from mythological times
- major role in theatrical arts of Bali
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- sacred
- performances in religious ceremonies
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- ceremonial
- in middle courtyard
- god and human audience
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- secular
- outside temple or in outer courtyard
- human entertainment
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| problems with Balinese art categories |
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- no "secular" arts in Bali
- wali and bebali distinction due to common Sanskrit root (meaning offering)
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- Balinese gamelan timbre described as “pulsating” or “shimmering”
- Each instrument a pair of metallophones is tuned slightly apart from its partner instrument
- When played together the higher instrument, known as the “inhaler,” and the lower, the “exhaler”, create this pulsating effect
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- wave
- When there is more than one of a single instrument, the inhalers are all tuned alike and the exhalers are all tuned alike
- The Balinese term for vebrato evoking the ocean image as well as breath
- also used to describe the pulsating reverberation of the gong
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Term
| nding, ndong, ndeng, ndung, ndang |
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- five names of the pitches for Balinese scale
- Each syllable notated w/a Balinese symbol
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- created in Bali in 1915
- expresses “explosive” Gong kebyar is tuned to pentatonic, pelog-derived scale called selisi
- at the time of inception of gong kebyar many older, seven-tone gamelan were melted down to reuse the bronze to make new, five-tone selisir keybar ensembles
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| Balinese expression often used to describe the spirit of interaction in all sorts of community organizations |
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| These community organizations exist for rice cultivation, neighborhood decision making, religious ceremonies, and music making. |
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- basic melody
- foundation consists of repeating melodic cycles and their variants.
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- communal way of playing an elaborating part
- musicians rely on partner to complete the composite melody
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- gangsa interlocking figuration consists of two complementary parts
- polos (“basic” maine part) usually plays on the beat
- sangsih (“differing”) fits into the spaces between polos notes.
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- Balinese term for charisma and showing off
- In music, implies extroverted display of virtuosity, confidence, and style.
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- dance drama enacting the battle between the evil witch Rangda and the barong
- often done in graveyards for exorcistic purposes and involving trance
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- intrinsic part of the calonarang dance drama
- has its own set of stories.
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- shadow puppets made of rawhide
- puppets are intricately carved and silhouetted against a screen lit by the flame of a flickering coconut oil lamp.
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- divine inspiration and “shifting focal points"
- overcomes performers during the act of performance
- do not always attain this inner state, but it is the desired one
- unaware of what they say or do
- different experience from going into trance.
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- performed by a group of men, sometimes numbering in the hundreds, representing monkey armies
- a few male and female principal dancers
- Seated in concentric circles, “monkeys” provide interlocking cak over a sung melodic line led by a narrator
- always performed outdoors at night around a fire, often in a forest setting outside a temple.
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