Story of Bali, Indonesia

To clarify this in out notation, each kempli beat has been calibrated into four equal divisions. The interlocking parts for Baris are composed in such a way that there is little regularity in the way they fall amongst these divisions. Sometimes they coincide with the kempli strokes and other times they avoid them entirely. Because of these irregularities, it will be difficult to grasp the kotekan parts unless the four subdivisions of the beat are clearly demarcated in your mind's ear. They should tick along steadily like a little internal stopwatch.The dancing of the Period of Feudal Society that had achieved a high crystallization was taken out of the feudal court, its spirit was changed so that it has become the property of the people as a whole. This kind of dancing is now usually referred to as "classical dancing". New composition in the same vein but unrestricted by the rules of classical dancing, are called "modern dancing", and this is now in the process of heading towards

Polos and sangsih are composed so that every note in their patterns lasts for either 1 subdivision (1/4 beat) or 1 subdivision plus 1 subdivision of rest (1/2 beat). The interlocking occurs when one part sounds one of its tones at each instant that die other part is resting. This is how-the continuous flow of notes is created.

But from the point of view of their spirit and vitality, both classical and modern dancing have a spirit and essence in harmony with those of the new Indonesian society. The 11 classical" is really applied only to distinctive characteristics of dancing that contain traits and elements of the traditional dancing. Classical dancing is built on set forms, both arbitrary and traditional.Among these styles, the Bali styles has made a most unusual development by comparison with the other. This is because the essence of Balinese dancing has been Supported by a society the structure of which is rather different from that of the other societies, It is true that Bali also has periods of primitive society, feudal society and modern society, but the social structure on this island bas always been wholly permeated by the religious aspect of life. And religious life is not exclusive in Balinese society; generally speaking, all the members of society in Bali irrespective of class, embrace the Hindu-Bali or Hindu Dharma religion.

To sing the parts, Balinese cut the final "ng of the syllables when the kotekan note lasts for only 1/4 beat. In other words, nang, ning, nong ning and neng sometimes become na," "ni," "no,' and "ne." Practice and memorize both parts, together with a friend if possible. This way when you know them you will be able to work on making them interlock together.
Notice further that the kotekan tones that coincide with the, kempli are in all cases the same as the ugal part at those points. It might therefore be said that the ugal tune is 'imbedded' in the kotekan, with the rest of the notes acting as decoration.The Hindu-Dharma religion is much dependent upon dances much as a ceremonial medium in its religious ceremonies and there are even dances which have the sole function of being offerings to God. Consequently, dancing in Bali has been able to develop most favourably, especially after Indonesia became independent.Consistent with the essence of dancing in Bali and its intimate relationship with religious life, the development of dancing in Bali displays a dual nature today.

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