The Baris Dance

Introduction
There are about 30 kinds of Baris dances and the different Baris dances in Bali are ‘usually named according to the weapon used in the dance’ (Bandem, 1995, p. 18). For instance, the Baris Tumbak uses a weapon called tumbak (long spear tipped with peacock feather) and the Baris Panah uses the panah, which is the Balinese bow and arrow (Bandem, 1975).The word baris means ‘line’ or ‘row’, referring to the ‘military formation’ that the dancers are positioned in (Bandem, 1995, p. 18).

The traditional Baris dance is the Baris Gede, which is a group performance performed in the inner temple. Baris dances are supposed to be performed by groups of men (the group can vary from 4 to 12 men depending on circumstances) arranged in rows or a particular formation. The men carry sacred weapon objects such as spears, daggers and shields and each row is ‘distinguished by the type of weapon employed’.

The dance is accompanied by the music of the gamelan gong and the dancers portray a very masculine and somewhat aggressive image of warriors in combat (Bandem, 1995). The Baris Gede is usually performed before a series of similar dances, such as the Baris Dadap which is performed quite soon after, and these dances are usually ceremonial in nature.

A non-ceremonial form of Baris dancing is a modern Baris dance, or the solo Baris. The solo Baris dancer wears a costume that is a variation of the Baris Gede, but still just as elaborate.

As shown above, the dancer’s costume consists of the head dress, a neck band with colored stones (bapang) as well as golden colored scarves worn on his body (awiran or lelamakan). The movements of the soloist have been changed, though the basic movements have been retained (Bandem, 1995). In addition, the music of the gamelan gong is also used to accompany this dance. The solo Baris dance is ‘plot-less’ and looks into the character of the classical Balinese warrior.

Movements of the dance
The movements of the dancer are somewhat effeminate because they are said to represent the movements of the warrior on the battlefield, as he swiftly deflects attack, or as the young warrior looks out for his enemies.

The basic standing position of the dancer is that his legs are open and feet pointing outwards, so as to allow the dancer to move steadily. His posture is very well defined and his arms are raised, ‘fingers placed high and trembling’ (Bandem, 1975, p. 262).

The character’s eyebrows are raised and his eyes dart about frequently, making him seem very anxious and he manages to convey more than one feeling in the audience through his vivid facial expressions.

When the dancer walks during the dance, his swings his heels and this is done in movement to the tempo of the music. When there is a change in the dynamics of the music, the Baris dancer makes sudden swift movements, which is also used ‘to change direction from left to right (or vice versa)’ (Bandem, 1975, p. 262).

Dance choreographers have since created stories from this popular character according to stories from the Mahabharata and Ramayana. The Baris dancer characterizes a hero in these stories, commonly Ardjuna Wiwaha (Bandem, 1975).

What is interesting about this dance is that even when there are 2 dancers performing the same dance, each dancer will be differentiated from his counterpart since each dancer brings with him his own unique style of dancing.

The picture above (although not very clear), illustrates how 2 dancers dancing the same dance bring their own unique and distinct touch to the dance.

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Bibliography
Bandem, I. M. (1995). Dances of the Inner Temple. In Balinese dance in transition: Kaja and Kelod . Kuala Lampur ; New York: Oxford University Press.

Bandem, I. M. (1995). Dances of the Inner Temple. In Balinese dance in transition: Kaja and Kelod. Kuala Lampur ; New York: Oxford University Press.

Bandem, I. M. (1995). Secular Dances in the Outer Temple. In Balinese dance in transition: Kaja and Kelod. Kuala Lampur ; New York: Oxford University Press.

Bandem, I. M. (1975). The Baris Dance: Ethnomusicology.

A word of thanks to the esplanade for all pictures were taken there

Topeng Pajegan

Introduction: The dances of Tari Topeng are inspired by myths and legends of the ancient Balinese heroes, rulers and religious leaders. They are performed for the pleasure of the deities and are seen as a way to establish spiritual connection with divine powers. In addition, the Topeng dances are a form of entertainment for the people. With rising secularization, the Tari Topeng dances are also increasingly being performed for tourists in Bali to showcase the rich Balinese history through the performing arts.

The Topeng Pajegan is a Balinese dance which is usually performed in the outer courtyards in temples. It is under the family of the Tari Topeng masked dances and originated from the "central palace of the Balinese capital city (I Made Bandem, 1995). The term "Pajegan" means one who executes all duties and this describes the fact that the dance is performed by a solo dancer who tells a story and portrays multiple personalities through the different masks he dons. (Coldiron, 2004)

General positions and movements of the dancer:
The performer keeps his feet apart and ensures that they are always pointed outwards. He also ensures that "his shoulders and elbows are lifted" and that his torso "moves as a unit". (Coldiron, 2004, p. 175) . He executes the dance moves by moving his hands and feet to the tempo of the music and bursts into sudden and quick movements when the tempo gets faster. Much focus is also on his head which displays "small, sharp movements" (Coldiron, 2004, p. 175).

In the following paragraphs, a few of the masks that may be featured in a Topeng Pajegan dance performance will be touched on and more detailed movements of the specific characters will be given.


Topeng Keras: The Mask of the "Patih" :

Picture taken at the Esplanade

The Patih mask which stands for Prime Minister is used in Topeng Keras. (Coldiron, 2004) There may be variation in the sequence of masks showcased in Topeng introductory performances but generally, they follow a certain sequence whereby the Patih is one of the first masks used. (Emigh, Spring, 1994) .

This mask is supposed to portray the amount of authority the character has. For example, it is painted red to signify power and prestige. Also, the bulging eyes and pouting mouth are meant to showcase the strong gaze of the Prime Minister that intimidates. (Coldiron, 2004)

Movements: The performer moves to the beat of the music and may suddenly pause to strike a pose with his fingers shaking. (Coldiron, 2004) This intensifies the performance as it gives one a sense of anticipation at what is to come next. Also, the head of the performer moves in a staccato way, where it tilts up and down to make the head look as if it is alive.

Topeng Tua:

Above shows the mask of a dignified old man who was a Patih in the past. The jewel on the middle of his forehead signifies the power and prestige he still holds . He also has long white horsehair probaly to signify his old age. (Aquino, 2007)

Movements: Assuming this role, the performer may pretend to be breathless, weak and giddy. He generally behaves in an eccentric, hilarious manner that contradicts his apparent dignity. This allows the performer to reach out to the audience, especially young children who embrace his character. (Coldiron, 2004)


The Dalem:

Above shows the mask of the Dalem ( king) . The colour of the mask is not an intense colour but that of pure white so as to showcase his "sweet and refined"(Gamelan, 2007) character. The crown around his head signifies his status as a ruler.he curved eyes and smile that is painted onto the mask reflects characteristics that a ruler is supposed to have like gracefulness and dignity. The smile may also be interpreted as one that looks ominous, hence may indicate that more lies beneath the calm exterior of the ruler .Thus, it could be inferred that the king should not provoked for dire consequences might follow. (Gamelan, 2007)

Movements: The Dalem assumes a calm composure with graceful and restrained movements. He moves his hands quite a fair bit and together with the poses he strikes, he looks almost as if he is effeminate. However, his strength is reflected in the "sudden, strong gestures of the head and arms and quick changes of direction." (Aquino, 2007)

So far, all the masks featured above are full faced masks hence their characters do not speak but communicate mainly through their actions . Only when the performer plays the role of lower ranking characters who wear half faced masks does he speak.( Coldiron, 2004)

Penasar Kelihan:

The mask above is that of Penasar Kelihan , the king's servant who speaks for him . His is a half-faced mask with two large holes for the eyes so as to allow the character to see and speak.

Movements: He moves about arrogantly and speaks with an air of self-importance as he tells the audience the story. The performer does not memorise a script but improvises his speech appropriately around the story that he is telling. This is no mean task as not only must he capture the attention of the audience by telling them jokes , he must also impart to them moral lessons and make the story relevant to the lives of the people by drawing modern references. (Coldiron , 2004 )

Sidha Karya:

The final mask that the solo artiste wears to conclude the performance is always that of Sidha Karya as shown above. He looks rather wild with his bushy eyebrows and moustache.Painted on him is a large mouth with a wide smile and teeth which juts out. He seems to be laughing by the way "his eyes are curved slits". (Coldiron, 2004, p.184 ) Also, the fact that Sidha Karya is supposed to be aged is implied by the lines on his forehead and cheeks . Like the Dalem and Topeng Tua, he has a jewel on its forehead which indicates his high social status. However, his jewel also serves as an "inward eye of higher perception"( Coldiron, 2004 ,p. 184) . It cannot be certain who exactly this character represents. Many still do not know whether he is supposed to be a god , a king or a priest .( Coldiron, 2004 ) Nevertheless, what we can be sure of is that he represents someone who is respected and has enough power to complete the entire Topeng Pajegan performance.

Movements: Sidha Karya moves about in a hilarious manner. He laughs to himself and does silly acts like hopping. The audience especially the little children adore him as he moves towards them and interacts with them. He presents keping ,ancient chinese coins to the gods by throwing them together with rice in the "four cardinal directions" (Coldiron, 2004 ,p 187) while seeking their pardon for anything in the performance that might not have been performed to their expectations. Sometimes he grabs a child into his arms , gives him one of the keping and releases him back into the crowd. (Coldiron, 2004)

Costume: The costume the performer dons consists of many layers of clothing to make him look as if he is a huge, high ranking Balinese warrior from the fourteenth century.

• Firstly, the kamben which is a long piece of cloth is worn around the waist. Beneath it, a pair of white trousers is worn.
  


• A holster apparatus where a kris ("ceremonial dagger") (Coldiron , 2004 ,p.175) is placed goes around the shoulders of the performer and is attached to the kamben .
  


• The Kamben is secured to a holster apparatus worn over the dancer's shoulders in which his kris is carried .
  


• A sabuk (belt) is worn just beneath the arms and serves to hold the kamben in place.
  


• Finally, "black velvet leggings" called stewel, "a cape decorated with a gold leaf" called saput and a "short black velvet jacket"(Coldiron , 2004 ,p.175) is worn. All of them are have plenty of decorations sewn to them. (Coldiron , 2004 )
  

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Biblography

Aquino, S. (2007). Masks. Retrieved 8 november, 2007, from Topeng Pajegan: http://www.topengpajegan.com/masks

Coldiron, M. (2004). Trance and Transformation Of The Actor In Japanese Noh and Balinese Masked Dance-Drama. Lewiston. Queenston.Lampeter: The Edwin Mellen Press.

Emigh, J. (Spring, 1994). Masks of Bali: Spirits of an Ancient Drama. Asian Theatre Journal .

Gamelan, U. (2007). Topeng Dalem Arsa Wijaya. Retrieved 8 November, 2007, from Gamelan Network: http://www.gamelannetwork.co.uk/news-items/topeng-dalem.html

I Made Bandem, F. E. (1995). Balinese Dance in Transition Kaja and Klod. Oxford University Press.