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