Beginning in 1950 after Indonesian independence, Balinese Dancer became the nation in introducing the Indonesian Ambassador on the initiative of President Soekarno. They are a very talented dancer, make a beautiful impression in the World. Today, they gathered back together with successor of their selected and want to show the authenticity and beauty of Balinese classical dance according their Knowledge and history.
Ida Bagus Oka WirjanaBlangsinga, Bali 1929From a very young age, Ida Bagus began studying Baris dance under the mentorship of his uncle Ida Bagus Kompiang. Before the Japanese occupation, he lived in Tabanan and always watched Sang maestro I Ketut Maria dance and teach the Kebyar duduk dance.
“Dancing creates the path of my life for Bhakti, devotion. As Sukarno said, if we are given long life search for spiritual wealth, wealth with friends.”
Ida Bagus is mostly inspired by that creation, and it became his signature. Within Kebyar’s evolution, Ida Bagus got most of his guidance from the hands of prominent figures in Gianyar, such as Anak Agung Gede (Puri Sukawati), Cokorde Oka (Pura Singapadu), Bapak Geriya, and Bapak Geredek (Singapadu).
Ida Bagus has danced in the Presidential Palace before Sukarno and has represented this country by performing in Europe, Asia, America, and Japan. Before Ida Bagus set off for his role as ambassador, almost every village in Bali requested his presence to dance the Kebyar as a prayer and tribute to meet their vows to Sang Hyang Widhi, the One.
Kebyar duduk Anggada Duta
This dance is about the feelings of Angada, Hanuman’s younger brother, in the Ramayana tale. Anggada loves the sense that he has been trusted with the task of sending messages from Sri Rama for King Rahwana in ALengka.
This dance is about the feelings of Angada, Hanuman’s younger brother, in the Ramayana tale. Anggada loves the sense that he has been trusted with the task of sending messages from Sri Rama for King Rahwana in ALengka.
I Gusti Ayu Raka RasmiPeliatan, 1939
Raka Rasmi was born in 1939 at Banjar Teruna Peliatan, Ubud, Bali, the first of five children. She began studying the legong dance at the age of nine under the tutelage of Gusti Made Sengog.
“Dance constitutes a part of my life. If I don’t dance my body feels heavy, aches. This is why I am eager to bequeath the legong and Oleg dances to the next generation, as my offering.”
The Oleg Tamulilingan was created by maestro I Ketut Maria; the first time he taught Raka Rasmi, it was more well known overseas than in Bali because it was used as a promotion for Bali as a beautiful and unique artists’ island.
In the book Dancing Out of Bali, John Coast made Raka Rasmi a star for her extraordinary style within the Condong Legong, together with the Oleg Tamulilingan, so far as she was pictured posing for his cover design.
In her twilight years, her spirit undiminished, she actively devotes herself toward the arts.
Oleg Tamulilingan
Oleg means supple and slow movements, and tamulilingan means bumble bee. This dance sketches a bee who plays with its lovely and lively movements.
Oleg means supple and slow movements, and tamulilingan means bumble bee. This dance sketches a bee who plays with its lovely and lively movements.
Jro Made PuspawatiKesiman, 1933
Jro Made was born in 1933 in Tegeh Kori Kesiman, Bali. She began studying dance at the age of ten under the guidance of the arts’ figure, Wayan Rindi.
“I just want to be a dancer until whenever. It’s one happiness for me if I can hear the sound of the gamelan and follow with movements the waves of that gamelan. The feeling is hollow if one day I don’t hear those traditional instruments’ sounds or move my fingers to dance.”
Trained intensely by Ni Made Rupawati, after seven years their partnership got them the opportunity to appear onstage, which resulted in huge success and widespread interest of other groups. After appearing a few times in and around Denpasar, she got the opportunity to dance at the Indonesian presidential palace before Sukarno. She has represented Indonesia as envoy in Europe, Asia, America, and Australia.
Candra Metu
The Dance of Emerging Moon is about the beauty of the moon when it comes out from its dwelling place, where the moon’s rays are soft and beautiful that shine and cover the world. This glorious moon radiates and shines down to earth to give beauty to every corner.
The Dance of Emerging Moon is about the beauty of the moon when it comes out from its dwelling place, where the moon’s rays are soft and beautiful that shine and cover the world. This glorious moon radiates and shines down to earth to give beauty to every corner.
Jro Gadung ArwatiTabanan, 1934
Born in Tabanan in 1934, Jro Gadung began studying music at the age of nine. She first studied the Baris dance from Anak Agung Made Paek (Kerambitan) and Nyoman Ridet (Kerobokan, Badung). After her Baris training she studied the Wiranatha dance, which took her around the world.
“At the moment I dance I become proud to become the most beautiful woman, with this my beauty I color the world to be more beautiful.”
Within these twilight years, she is still active in the dancing world, as she teaches the art of dance and performs, even though her energy isn’t as strong as in youth. Her energy and pride for this art are what give her the motivation and energy to keep dancing.
Wiranatha
The Wiranatha dance is about the honor and might of a king in ruling and organizing the people, where he shows characteristics both severe and gentle.
The Wiranatha dance is about the honor and might of a king in ruling and organizing the people, where he shows characteristics both severe and gentle.
Ni Ketut Arini, Sst.Denpasar, 1943
Born in 1943, Ketut began studying dance at 10 years old. In childhood she helped her parents work in the fields, and afterwards learned to dance in the village bale. Then she studied dance at the Kokar dance school, from where she went on to the teacher’s training college STSI.
“I’ve never been bored of dancing. There is happiness in the heart when I make people happy with the dance that I offer them.”
After diligent and intense training, at 17 years old, in 1967, she got the chance to travel the world by dancing. Until today she remains active dancing and teaching dance at Sanggar Warini. If she could get one wish, it would be, “as long as I remain with years, I can always teach and make people good at dancing.”
Teruna Jaya
The Dance of the Glorious Youth was sketched about the transformation of a child entering adulthood. The movement is emotional, sometimes fierce, and very emphatic.
The Dance of the Glorious Youth was sketched about the transformation of a child entering adulthood. The movement is emotional, sometimes fierce, and very emphatic.
Menek luh Ni is one of the maestro who mengapdikan his whole life in the arts of dance. He who in their daily work as a dance coach, always giving berkeseniannya experience to her students through dance classes. Their work in dance duni make him acquire a variety of awards including the title of maestro Trunajaya of the local government level II Buleleng in 1985 and sent him as ambassador to Japan art sebayak 2 times in 1991 and 1999.
(Take It from tetamian.org)
(Take It from tetamian.org)