Story of Bali, Indonesia

The discussion will be limited to a detailed description of the music for the Baris dance, as played on the standard gamelan gong kebyar tuned to 5-tone pelog. The modern solo Baris is a dance form with its roots in antiquity. The word itself means row, rank or file and actually refers to a whole family of choreographies that portray martial and warlike characters. Most of these were originally for companies of dancers bearing lances or shields; the group forms still extant today are mainly sacred and seen only at special ceremonies. The solo dance, however, has been distilled and secularized. Today it can be seen on the program at many recreational performances, whether as entertainment for Balinese outside a temple during a ceremony or as part of a tourist show.

Art is one of the aspect of the cultural life of man that emphasizes the aesthetic and artistic angles of things. And one of the branches of art that is of considerable importance is dancing.

Since dancing is one of the branches of art, and art is one of the aspects of man's cultural life, we can say that the beginnings of dancing coincide with the beginnings of man. Cosequently, the nature of every human being fits him to dance. Bur the ability to dance well, will, of course, vary from one person to another. This difference, however, is only caused by varying talents or potentialities.

While the older ritual Baris forms are comprised of relatively plain choreographies, the execution of the more intricate modern one requires intensive practice and consummate skill. Most mate and many female dance students begin their training with this dance, as it develops the most important musculature, movements and postures in the Balinese dance vocabulary. Since the dancer may in effect vary the order of the larger gestures of the choreography during the course of a performance, a Baris performer must have complete understanding of the musical accompaniment too, as he is required to instantiate these gestures at precisely the proper moment in the course of the music. In contemporary Baris the dancer leads the gamelan, carrying the musicians along through a succession of sharply drawn moods and vignettes that illustrate the warrior's alternately watchful and combative states.

function. can even say further that dancing will only have the value of art if there are both dancer and audience. The dancer, as the individual who is conveying the expression of his soul by means of beautiful rhythmical movements, is the first party. While the audience, its the society enjoying and appreciating the beauty of the dancing, is the second party. The high or low aesthetic value of the dancing depends on both parties, the dancer and the audience. Consequently, it dance composition may have a local value, a national value and also an international one, Further, we can say that in dancing there has never been Part pour Part or art for the art's sake; there is only art for the sake of society. Dancing will always be presented to and be devoted to society.

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