No.043/VIII - Oct/Nov' 99
A Piece of Paradise
Discovering the Sidemen secret
Fruits From the tree of
life
Nine steps to coconut palm appreciation
The Tradition Lives On
The Islam Wetu Telu Religion
Inspired
By Rinjani
The King's Playground at Narmada
Gallery
In a Perfect World
Entertainment
Dramatic Revival
The Gambuh Drama regains Popularity
Entertainment
The Art of Balinese Clowning
Advanture
The Balinese Notebook
Postcard
Weather
Natural
Bali
An Uncertain Future
Food
The Fusion of Foods
Environment
Action
Turtle Crisis
Fiction
The Hook and Your Eyes
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 Jay Hemman gets swept up in the energy of a solo masked dance performance, and meets the man behind the masks...  The gamelan strikes up the distinctive
clamour of bronze and wood. With fluid speed, hammers run up and down the ornately carved
instruments, barely stopping to take a breath. The noise is deafening, the kinesthetic
energy and visual decadence entrancing. The audience is effectively and completely drawn
into the artists’ world. They are ready for anything, willing the drama to continue
to work its magic.At the centre back of the stage the curtain quivers the slightest amount. Only the most observant, those who have not been transfixed by the gamelan’s power, will have noticed the movement. Soon, however, all eyes are on the bright gold painted curtain as it gradually works its way from side to side. Fingers clasp the edges of the curtain, and then a face appears. Not your average face, mind you. This face exhibits an expression that has been carefully crafted to suit the occasion. The eyes are darkened and narrowed, staring in a cold, hard fashion. The mouth is tightened and the lips are clasped. Despite the severity of the main features, however, the cheeks, forehead and chin remain smooth and calm. So smooth, in fact, that the overall impression is actually one of quiet determination and a resolute spirit. The body that eventually emerges from behind the curtain is as lively and expressive as the face is still and expressionless. It prances toward the front of the stage, feet turned out, toes curled up, legs levered from the knee joint, arms hanging to the side in mid air, hands stretched to the tips. The upper part of the body has an elaborate neckpiece sitting on top of a purple and gold cape, and the lower part is dressed in white cotton trousers wrapped loosely around the legs. The wrists and ankles have the same intricately embroidered pieces attached to them as the neck. A kris sword, the masculine symbol of power, extends the cape to one side, disfiguring the body shape by forming a tent. The face suddenly has a context. This is the beginning of a Balinese dance performance. But this dance performance is quite unique. After the first character has finished its performance another one appears in its place, and then another, and another. It is a one-man show, different masks being used to create the different characters. The first character is a youngish man, the resolute young man with an attractive face - a minister. After that comes old man, with long white hair and gnarled features. A story teller arrives on the scene, putting everything into context, and then the king, the main character of the story. The final character is a clown, who wears a strange mask shaped like a pig face, which is later inverted to give the impression of an elephant with its trunk raised. The story is based around a traditional tale of the formation of the Balinese dynasty, how the original king of Bali came from the Majapahit kingdom in Java with his princess, about his first ceremony at the Besakih temple. The ramayana and rhajapat stories never form the basis of Balinese mask dances because of their Indian origin. Although every mask dance will work around a traditional story, the actual narrative or dialogue can be improvised, so that the performance is contemporary and relevant, and there is much local content. Most recent performances will no doubt include a description of the political and economic woes in Balinese, for the enjoyment and appreciation of local audiences. Foreigners can similarly relate to and appreciate the description of the tourist’s experience of Bali, as given in English - the joy of venturing out into the countryside and discovering the true Bali, learning that in Bali everything is “no problem”. The performer is I B Anom, a youthful and energetic man who has been making masks and performing masked dances for 38 years, from the age of 14. His father taught him the art of mask making and passed on his passion for dancing, as had his grandfather to his father.  Anom is involved in the whole process
of the masked dance, from the carving and painting of the wood through to the
personification of the masks through dance. He delights in sharing his expertise with
others, and invites anyone who’s interested to observe and participate in the
process. He regularly has visitors come to his house, where he has a woodcarving workshop
and showroom. He’ll show the raw block of wood, the carving and painting techniques,
and finally the dance process, so that the visitor’s appreciation is complete.Two types of masks are made, but only one type is used for performances. The painted mask is specifically for performing. It is made of pule wood, a flexible light material which is suited to the rigorous preparation process. After the painstaking shaping of the wood, this mask is coated with 40 coats of paint, and must dry in the sun 40 times. A harder wood would dry and crack, and a heavier wood would not be practical for dancing. Many paint colours are now available in water based acrylic, but traditionally a powder made from pig bone was used to make the paint. One mask may take a few weeks to complete. The other type of mask, the unpainted one, is for decoration only. It is made from waru wood, which is a variety of hibiscus. The clear polished finish is especially attractive, as it allows the smooth contours and fine grain of the wood to show through. A masked dance for a temple ceremony will finish with the side mask, which symbolizes success. This final, spiritual character throws a Chinese coin and rice in the air as the farewell prayer. As in all areas of life in Bali, dances with masks are a form of offering to the gods. Mask to music, start to finish, the age old Balinese masked dance performances are a unique way to gain a glimpse into the history and culture of Bali, as well as being entertained by the sharp sense of humor of the modern satirist. end |
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