Story of Bali, Indonesia

Before we proceed, a pair of disclaimers. Baris has been chosen for our purposes because it is one of the most ubiquitous pieces of music in Bali. In spite of the brevity of its melody it contains all of the elements found in more developed pieces. But because it is so common there is also regional variation in performing it, so that the version discussed in the following pages may differ a bit from the one you chance to hear in performance or on a recording. These discrepancies, however, can only be at the level of minor detail; the various parts set forth herein will unquestionably be identifiable as parts of Baris to any Balinese, even though they may not coincide exactly with the way it is performed in his or her village.

Among the challenges to Indonesian dancing, the most important is the rise of a new society which is democratic and modern.

The correct response to this challenge will be found only in the consciousness that the dancer dances not for himself but for the society of spectators. In short, that challenge can be met only by the consciousness that dancing is really to be devoted to Indonesian society, which is democratic and modern. The development of Indonesian dancing must be parallel to or in harmony with the development of its society. Indonesian society today does not want old-fashioned dancing any more.

Secondly, there is the matter of tempo. Baris, like. Much Balinese music is played impossibly fast. Attempting to follow music moving at such breakneck speeds can be very frustrating since it requires a vigilant and unwavering concentration as well as a thorough familiarity with the materials especially when it comes to the kotekan and kendang parts. Practice what is given here slowly until you can execute it well, but prepare for a shock when you listen again to a performance. The musicians will invariably play faster than you can think! Of course, the players themselves are not thinking, rather they are repeating gestures that they have practiced together thousand of time.

Consequently, Indonesian dancing at the present time must dispose of its old-fashioned characteristics.

Enough explanation has been given about the fact the development of dancing in Indonesian at present is heading towards a process of modernization.

This does not mean however that in this process of modernization we can simply ignore its classical elements. It- does not mean that Indonesian dancing has to reject Indonesian classical dancing which before independence had reached a high level.

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