Cendrawasih Dance | Cultures of Denpasar

Cendrawasih Dance is a dance duet danced by the dancer's daughter, although the basic footprint is traditional Balinese dance movement, some of the poses and movements of this dance has been developed in accordance with the interpretation of the stylist in finding the form - the form in accordance with the theme of this dance. Clothing styled in such a way as to help strengthen and clarify the motion that created the design.

This dance is created by N.L.N. Swasthi Wijaya Bandem  (also as a fashion stylist from this dance) in order to follow Walter Spies Festival Foundation. stylist percussion accompaniment is I Wayan Beratha and I Nyoman Widha in 1988.

Manuk Rawa Dance | Cultures of Denpasar

Manuk Rawa Dance performed by a group (between 5 to 7 people) is female dancers new dance creations that describe the behavior of a group of birds (manuk) water (swamp) as narrated in the story of the Epic Mahabharata Parwa Wana.

Dance movements taken from classical Balinese dance is combined with the dance movements of Javanese and Sundanese, which has been modified in accordance with the demands of beauty.

This dance was created in 1981 by I Wayan Dibia (choreographer), and I Wayan Beratha (composer). Before becoming a freelance dance, dance ballet Manukrawa is part of the Mahabharata "Bale Gala-Gala" Ramayana ballet team work / Mahabharata Bali Province is shown in the Bali Arts Festival 1980.

Baris Dance (Line Dance) | Cultures of Denpasar

This line dance is a dance performance illustrating army. This dance usually danced in the ceremony or at certain events. As a dance ceremony, as the name "Line" is derived from the word which can be interpreted bebaris troops then this dance describes the dexterity of soldiers. This dance is a dance group that performed by men, usually danced by 8 to more than 40 dancers with a lively movement quite sturdy, straightforward, dynamic, with the accompaniment of Kebyar and Gong Gong Gede. Each type, group dancers carried weapons, ceremonial equipment and costumes with a different color, which later became the name of the types of dance line that exist.
Line dances are still in Bali, among others:

Pendet line: line dance the dancers perform without a weapon of war but the offerings (cymbals sari), danced in a ceremony Yadnya god. In the village of Tanjung Bungkak (Denpasar) this line dancers bring cymbals cymbals called oyod and at the end of the dance, the dancers danced a fan with a "ma-cedar-arasan" or merriment.

Dadap lines: Lines that carry weapons dapdap (a kind of shield), the movement is more gentle than other types of other line dance and the dancers dance while menyayikan barreled slendro song to the accompaniment of gamelan is also barreled slendro Angklung and danced in ceremonies god Yanya danced except in Tabanan area in a ceremony Yadnya Pitra, often found in the area of ​​Bangli, Buleleng, Gianyar and Tabanan.

Tamiang lines: Lines that carry weapons and shields, called kris Tamiang, can be found in Badung.

Bedil line: This line is danced by several pairs of dancers carrying long-barreled imitation rifle (rifle) made of wood, shown in the ceremony Yadnya Gods and of the region, Klungkung, Bangli and Badung.

Gowak line: dance which depicts the battle between the forces of Tegal Badeng (Badung) with a group of crows carrying the death, in which several pairs of dancers portray soldiers Tegal Badeng and the other as a bunch of crow with wings wearing costumes. This dance is very sacred by the villagers Selulung, Kintamani (Bangli) and contained in a ceremony Yadnya god.

Katekok champion lines: Lines that carry weapons poleng spear (the spear which stems are black and white) and black and white striped dress danced in the ceremony Yadnya Pitra (Ngaben). Generally there are in the region of Badung and Denpasar. Moderate line dance called the line of its kind in Buleleng, Gianyar Bedug and called Poleng line.

Cendekan line: This line is danced by several pairs of dancers carrying a short spear guns (cendek), displayed in a ceremony Yadnya god.

Jangkang line: This line danced by dancers who carry a long spear gun, displayed in a ceremony Yadnya Gods and of the region of Bangli, Gianyar and Klungkung (Nusa Penida).

Demat line: danced by a group of dancers who depict figures Demat (one of the figures Pagambuhan) in the classical dance drama Gambuh with gun sword, tumbak, arrows and others. This line dance found in Buleleng.

Mamedi line: The dance depicts a group of spirits (mamedi) who lives haunted places such as tombs, the dancers wear clothes made of leaves and twigs are taken from the grave. Gamelan Balaganjur dance gamelan accompaniment. The dance was held in order Pitra Yadnya ceremony (cremation) and of the region of Tabanan.

Tumbak line: The line that carries spear guns and dressed in layered awiran - layers danced in ceremonies god Yadnya, often found in areas of Badung, Bangli and Gianyar.

Presi line: The line dancers are carrying a weapon dagger, and a type of shield called the presidency. Held in conjunction with the ceremony Yadnya god. Often found in Bangli and Buleleng.

Bajra line: The line that carries a weapon to bludgeon-shaped tip Bajra (such as the mace of Bhima) and danced in the ceremony Yadnya god and can be found in the region of Bangli and Buleleng.

Butterfly line: In accordance with the theme, dance line depicts the animal life of butterflies and dancers wearing butterfly wings, agile and dynamic movements mimic the movements of a butterfly. Until now this dance is in the village of Renon and Bees (Denpasar).

Chinese line: This line dance allegedly under the influence of Chinese culture, unique look of fashion (pants with long sleeves, gloves fabric sash, hat, dark glasses and wearing a sword weapon), movement (taking martial arts movements), and the music ( Gamelan Gong Gong Bheri ie without moncol). This dance describes the forces from the land of Java skipper who came to Bali. The dance was featured in the ceremony and there Yadnya Gods in the village and Belanjong Renon, Sanur (Denpasar).

Arrow line: This line is danced by several pairs of dancers who carry guns and arrows displayed in the ceremony Yadnya god, there are in the area in Buleleng and Bangli.

Pots line: This line dancers danced by a group composed of stakeholders with a scoop or Cantil (a tool to bring the holy water), displayed in a ceremony Yadnya Gods and of the region of Bangli, Gianyar and Badung.

Cerekuak line: dance depicting the movements of a group of water birds (cerekuak) when looking for a girlfriend, burungmanuk gods. The dancers wear clothing babuletan (cloth put up above the knee) with a garnish of leaves on the whole body and head, only displayed in the ceremony Yadnya Pitra (Ngaben) with Gamelan music Batel Gaguntangan. Line dances are included in the Tabanan area.

Ketujeng line: This dance describes a group of spirits who live in haunted places that is intended as an introductory dance atman of the deceased to heaven, sung by a group of dancers who wore a dress of leaves. Line dance is performed in the ceremony Yadnya Pitra (Ngaben)

Omang line: Line Dance that uses a spear gun, but her movements slowly like the way a snail (Omang), describes the battle between the forces of Tegal Badeng (Badung) with troops Guwak (crow). This dance is very sacred by the people Selulung (Kintamani - Bangli, and there is a god in a ceremony Yadnya.

Yellow line: It is a ceremonial dance of the Gods Yadnya danced by a group of male dancers dressed in all yellow and armed with kris and Tamiang (shield), located in Buleleng area.

Kelemet line: This dance is performed by a group of dancers who portray the fishermen, with such weapons and describing people rowing boat at sea to catch fish, this dance is in Gods Yadnya ceremony and of the region of Badung.

Jojor line: line dance group of dancers who danced with weapons Jojor (long-stemmed spear) present in the ceremony and there Yadnya god in Buleleng, Bangli and Karangasem.

Tengklong line: Dance, performed by a group of dancers with swords weapons, dynamic movement, and approached the mighty martial arts movements. Displayed in a special ceremony at the Temple Quarry Badung, precisely in the village Pamedilan Denpasar.

Line dance is usually divided into 3 rounds. namely the opening round, round alus, and the closing stages. In the opening round of the movement is usually more aggressive. usual first imprest. hehehe. trus second round of gongs or the music will be more gentle. usually moves even more authoritative. Round cover almost the same as the first half.

Tenun Dance | Cultures of Denpasar

Tenun dance depicts Balinese women in making cloth weaving (a type of traditional Balinese cloth).

They were dressed in traditional Balinese make the Eastern and Weaving cloth from yarn spinning process, until the weave with a sense of calm and joy.

This dance is generally performed by three dancers or more. Tenun dance created by I Nyoman Ridet and I Wayan Likes in 1957.








Other picture

Oleg Dance | Cultures of Denpasar

Oleg dance was originally called Legong Prembon. Coast seems less pleased with the name of the Legong Prembon because it is difficult to translate into English. This dance depicts two beetles, males and females, while having fun in the flower garden while sucking the honey. As the beetle Raka Rasmi male partner, was chosen I Sampih a much older, originating from Bongkasa, Badung.

Word Oleg in the Balinese language dictionary means "shake". In a dance that symbolizes the female beetle, there was indeed a graceful swaying motion as if the trees in the wind. Oleg graceful dance movements are visible on the pengadeng - during which dancers hold oncer bent alternately with both hands crossed across his chest, as he swung to the right and left. Then assessed, a suitable actor who brought him is slim, slim-boned as giving the impression ngoleg.

Sort of. This dance is then initially better known abroad than in Bali, because once created and then used a promotional event outside Bali. Before leaving for Europe, the mission of the government of Indonesia's art first gig at the Merdeka Palace to say goodbye to the President because it will be a visit of about 10 months to visit France, Germany, Belgium, Italy, Britain and several major cities in the United States. Mario did not participate in the group. But a few years later, with Gong Pangkung Tabanan, he was "hypnotized" people of Europe, Canada and the United States with a variety of exquisite dance movement improvisation in dance and dance Terompong Kebyar Sit on the show "Coast to Coast Tour" in 1957 and 1962.

Pendet Dance | Cultures of Denpasar

Pendet originally a dance of worship which was exhibited at many temples in bali, places of worship of Hindus in Bali, Indonesia. This dance symbolizes the welcoming of the gods fall into the natural world. Gradually, over the times, the artists transform Pendet to "welcome", but still contains elements of the sacred-religious. Creator / choreographer of modern dance form is I Wayan Rindi (? - 1967).

Dance created by the early 70's by this artist I Nyoman Kaler, describing the welcome of the decline to the natural gods Marcapada. This dance is an offering in the form of ritual dance. The young girls follow the movements of the women who are more senior.

Kecak Dance | Cultures of Denpasar

Kecak dance is archetypal of Balinese assuming arts that was created in the 1930s, played by dozens of men who sit in rows in a amphitheater and with a assertive accent alleged for the chat "cak" and aloft both arms.

The dancers sit in a amphitheater cutting a checky bolt like a chessboard belted their waists.

This dance depicting the Ramayana as band of apes advice action Ravana. Kecak dance songs taken from the ritual dancessanghyang dancers dance traditions will be in an benumbed condition, communicating with God or the alcohol of the ancestorsand again back their expectations to the community.

Barong Dance | Cultures of Denpasar

Barong is apparently the best able-bodied accepted dance. It is additionally addition news cogent dance, address the action amid acceptable and evil. This ball is the archetypal archetype of Balinese way of acting out mythology, consistent in allegory and history actuality attenuated into one reality.

The news goes that Rangda, the mother of Erlangga, the King of Bali in the tenth century, was accursed by Erlangga's ancestor because she accomplished atramentous magic. Afterwards she became a widow, she summoned all the angry alcohol in the jungle, the leaks and the demons, to appear afterwards Erlangga. A action occurred, but she