Bali echo magazine 43th edition October

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Bali Echo 42th edition

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

Lombok Update

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

Jungle Drums

Bali Sing KenKen

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From the distance of about five centuries from the time of its birth on this island of Bali, the Gambuh dance can appear old-fashioned and dull. As Bali continues to evolve as a modern metropolis - with three million tourists visiting the island per annum and a more and more heterogeneous population - the Gambuh dance appears to be a strange relic from the past. Its movements, the accompanying utterances, the choreography and the language are difficult to learn, so the art community seems to have become more interested in popular modern creations which are easier to digest, such as the musical drama (drama gong), dance drama (sendratari), the fun male opera (arja muani), aa well as various independent dances. Gambuh has therefore become an unusual ancient art, well preserved through ceremonies and tradition.
Gambuh also finds it especially hard to present itself in front of a profane public, as it has already developed as a puritan Balinese art. The sacred Gambuh from Pedungan village, for example, has created its own tradition - that is, it is performed only in connection with a ritual kaul promise practiced by the local Hindu people. In the walk of their everyday life, the Balinese feel that the god at the local pura desa temple blesses them, so in return they offer a performance of the Gambuh dance.

WAR AND ROMANCE
Originally, the story presented in the performance of the Gambuh was derived from Panji stories, which were stories depicting royal life as full of wars, romance, and jealousy. The settings are in such kingdoms as Jenggala, Kediri, Gegelang, and so on, which provide the opportunity for a blending of facts and fiction. Rangga Lawe, a Resident of Tuban, describes the use of Raden Wijaya of Majapahit, a story regarded as sacred by the Balinese people. Prof. Bandem has stated that Gambuh also presents the ‘Arabian Night’ stories, especially the one well known as the story of ‘Amad Moamad’.
    The performance of ‘Macbeth Gambuh’ certainly gave another twist to the tale. Macbeth is the drama composed by William Shakespeare about Scottish Royal life, revolving around the revolt of the Cawdor of Hertog and the loyalty of General Macbeth. The impact of this performance was great, not only because a very popular but foreign drama was merged with a Gambuh performance, but also because it was performed during the Besakih temple festival. Known as Panca Wali Krama, this festival marks a very sacred ceremony which is held only once in five years.
    Nyoman Erawan also arranged for a performance of the ‘Gambuh Macbeth’ at the Desa Temple of Sukawati in August. “I’m attracted to the dancing gestures, which look so natural, and by its creative contemporary composition,” admitted Erawan, the most daring Balinese contemporary artist who has challenged existing artistic frames.
    The original concept for ‘Gambuh Macbeth’ came from Kadek Suardana, a young art director who has been a maverick innovator in the world of theatre since the 1980s, not always with a positive response. Since 1985, along with others from his ‘Sanggar Putih’ studio, he has explored the drama ‘Macbeth’ with the idea of putting it into a performance with the nuance of Balinese theatre. Kadek once recreated ‘Macbeth’ into a modern play by keeping all the dialogue intact as they are in the poetic Shakespearean form, but using the Balinese ‘Arja’ opera costumes. The Balinese Gong Kebyar accompanied the performance, giving the impression it was a Balinese musical drama. The audiences at the time were shocked by such a daring combination, and Kadek did not receive the positive response he had been hoping for.

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