Dance training in Bali: intercultural and globalised encounters

Abstract

Set against a backdrop of kebalian, meaning ‘Balinese-ness’ this paper addresses the general impact of globalisation on traditional dance training in south Bali and specifically the masked dance, story-telling genre of topeng pajegan. The focus is on the village style of training and explores the influence that Western, or rather international, non-Balinese students have had on the Balinese dance training system. This has evolved from the differing needs of local and international practitioners, as well as from the experience of Balinese artists working abroad and then resuming a teaching practice upon returning to Bali. Rather than view this intervention as negative, this paper presents the view that this can positively broaden the range of techniques available for the teacher's disposal. The paper also explores the cultural, artistic and ethical interactions between student (both Balinese and non-Balinese) and teacher relating to power and money and positions these issues within a climate of neoliberalism. The changes in these dynamics are presented as a reflection of modern life more generally and the advance of capitalism rather than a specifically detrimental ‘Western’ influence.

Keywords::

• Bali
• interculturalism
• post-traditional

Notes

^1. Scholarly documentation consists most notably of the research carried out in the 1980s by Elizabeth Young (1980) and John Emigh 1996. Odin Theatre pioneered much of the practice-based research alongside dance ethnographers such as the late Cristina Wistari Formaggia. The on-going contribution of Rucina Ballinger is not to be overlooked.

^2. I focus on training and teaching in Bali as opposed to rehearsal strategies; the Indonesian verb latihan means to train and to rehearse, both being requisites of performance practice.

^3. Some defining qualities of ‘deep’ in the context of training may include a long-standing training, the roots are in vertical practices (i.e. from master to student), it takes time to settle in the body, is invisible to the outside and that knowledge gained should be transferable and applicable in other contexts, rather than knowledge that is finite (Barbe 2012).

^4. In Bali the concept of energy is called ngunda bayu and relates to dance generally. Swasti Widjaja (1995, p. 5) describes ngunda bayu as circular breathing originating from the stomach which gives life to every single muscle, which she defines as ‘a mystery’.

^5. For further reading see Turner (2011).

^6. The training at ISI involves working with mirrors, working in a larger class group, committing to an agreed time frame, paying prescribed fees and perhaps more closely resembles a ‘western’ style of academy training. Because of the fee, it attracts a different demographic of dancers who can afford to financially invest in their training and ‘buy into’ a potential career and network of professional contacts as is common in Bali. This training option is also available for international students.

^7. In Bali, both carving and dancing topeng is a male-dominated arena. There is just one female dance troupe called Topeng Sakti: founded by a Western woman – the late Cristina Formaggia. For further reading see Palermo (2009).

^8. Extremely experienced and respected maestros create new masks and dances, such as Ida Bagus Anom's bondres turis, the tourist clown mask, or I Made Djimat's Topeng Tua Perempuan. These examples demonstrate a clear development and appropriation of tradition based on deep cultural knowledge and understanding.

^9. Traditionally, according to Ida Bagus Anom and his interpretation of lontar, the life cycle of a Balinese person is split into phases which last seven years. From the age of 28 to 56 one should endeavour to earn and acquire as much as possible. Thereafter one becomes a teacher and prepares to lead a more spiritual and detached life whilst being supported by one's children.

^10. I wish to reiterate how in Bali ‘success’ is rarely measured by technical skill alone, but by spiritual knowledge, understanding and the attainment of ‘taksu’. Most dancers in their mid-adult life would acknowledge that they are still learning to develop this inner quality. However, most Balinese acknowledge that to master technique is important initially so that the dance becomes masuk ‘inside’ and this is best learnt whilst young.