Dance, Theatre and Religion:
A Balinese Case Study
Southeast Asia is a highly diverse region, home to myriad ethnicities, religions, practices, beliefs, values, languages, cultures and traditions. The variety of performance art, dance and theatre found in Southeast Asia “is almost staggering” (Brandon, 1967, p. 1). Some examples of performance art, dance and theatre found in Southeast Asia include “shadow plays in Java, dramatic folk rituals in Bali, masked pantomime in Thailand, spirit dances in Burma, folk-song dramas in Laos, classic Chinese-derived opera in Vietnam, puppet plays in Sunda, and the Royal Ballet of Cambodia” (Brandon, 1967, pp. 1-2). In many countries, theatre and dance is performed for entertainment purposes, to entertain royalty in courts, tourists and the masses. Dance and theatre performances in Southeast Asia form a major part of the global cultural tourism trade as these performances are used as entertainment for its tourists due to its exoticism and vibrancy (Barker, Putra, & Wiranatha, 2006, p. 215). Using Bali as a case study, this paper argues that traditional theatre and dance in Bali is not only a form of entertainment but is also a form of religious practice and worship in ceremonies. Additionally, traditional theatre and dance acts as a medium for expression and communication of religious narratives and beliefs. By arguing that traditional theatre and dance is a form of religious practice and worship and that it is also a medium for expression of religious narratives and beliefs, this essay underscores the pervasiveness and significance of religion and religious beliefs in Balinese society. Traditional Balinese Theatre and Dance as a form of Religious Practice and Worship Known as the “Paradise on Earth”, Bali is an island in Southeast Asia and a province of Indonesia that is popular for its spirituality to God and nature. This spirituality and religiosity of the people in the island is reflected in the nicknames conferred upon this island: “The Island of Thousand Temples” and “The Island of Gods” (Gede, n.d.). Religion plays a large important role in Bali and the main religion in Bali is Hinduism that is adopted and adapted by the Balinese, a unique Balinese version of Hinduism. Balinese Hinduism is a syncretic blend of old Javanese, Hinduism, Tantri Mahayana Buddhism, animism and ancestral worship and it is expressed through temple festivals, rituals and ceremonies that are offered to the gods and deified ancestors (DAMAI). These gods and deified ancestors are known to enjoy performances of dance, drama and music and as such, ceremonies, festivals and rituals oftentimes comprises of music, dance and theatre. In addition to entertaining and pleasing the gods and ancestors, these theatre and dance performances are presented to demonstrate obedience, to ask favours and to give offerings …show more content…
Unlike the Sanghyang Dedari, Wayang Kulit falls under the category of Bebali dances, and are performances that accompanies religious ceremony. Wayang Kulit is a shadow-puppet play that features a lone puppeteer handling and manipulating cut-out figures before a screen, casting shadows of the puppet on the screen while singing and narrating a story with the accompaniment of gamelan instruments (Brandon, 1967). The puppets used by the puppeteer during the Wayang Kulit performance is believed to be alive and containing a spirit who can only be handled by a dalang (puppeteer). It is believed and understood that the dalang (puppeteer) serves as both as an artist and priest (Rubin & Sedana, 2007, p. 18) and that Wayang Kulit is performed for exorcism and purification, pacifying a dangerous evil spirit and transforming it into a divine spirit through the performance (Rubin & Sedana, 2007, p. 22). The ritual performed through Wayang Kulit is also for spirits of ancestors as it is believed that the “spirits of ancestors return as shadows” (Lim, p. …show more content…
These performances often narrates and enacts adapted stories and themes from the Mahabharata and Ramayana, two major Sanskrit epics of the Hindu religion. The Mahabharata and Ramayana are Hindu scriptures and promotes religious paragons through its stories (Nong, 2008, p. 133). The Mahabharata is a religious work that is well known for the section of the Bhagavad Gita (Song of the Blessed Lord) which is revered as the “Bible of popular Hinduism” (Robinson, 2009). Likewise, the Ramayana is a religious poem that describes the incarnation of God (Vishnu), his struggles with evil (the devil) and how he overcomes them (Buck, 2000, p.
A Balinese Case Study
Southeast Asia is a highly diverse region, home to myriad ethnicities, religions, practices, beliefs, values, languages, cultures and traditions. The variety of performance art, dance and theatre found in Southeast Asia “is almost staggering” (Brandon, 1967, p. 1). Some examples of performance art, dance and theatre found in Southeast Asia include “shadow plays in Java, dramatic folk rituals in Bali, masked pantomime in Thailand, spirit dances in Burma, folk-song dramas in Laos, classic Chinese-derived opera in Vietnam, puppet plays in Sunda, and the Royal Ballet of Cambodia” (Brandon, 1967, pp. 1-2). In many countries, theatre and dance is performed for entertainment purposes, to entertain royalty in courts, tourists and the masses. Dance and theatre performances in Southeast Asia form a major part of the global cultural tourism trade as these performances are used as entertainment for its tourists due to its exoticism and vibrancy (Barker, Putra, & Wiranatha, 2006, p. 215). Using Bali as a case study, this paper argues that traditional theatre and dance in Bali is not only a form of entertainment but is also a form of religious practice and worship in ceremonies. Additionally, traditional theatre and dance acts as a medium for expression and communication of religious narratives and beliefs. By arguing that traditional theatre and dance is a form of religious practice and worship and that it is also a medium for expression of religious narratives and beliefs, this essay underscores the pervasiveness and significance of religion and religious beliefs in Balinese society. Traditional Balinese Theatre and Dance as a form of Religious Practice and Worship Known as the “Paradise on Earth”, Bali is an island in Southeast Asia and a province of Indonesia that is popular for its spirituality to God and nature. This spirituality and religiosity of the people in the island is reflected in the nicknames conferred upon this island: “The Island of Thousand Temples” and “The Island of Gods” (Gede, n.d.). Religion plays a large important role in Bali and the main religion in Bali is Hinduism that is adopted and adapted by the Balinese, a unique Balinese version of Hinduism. Balinese Hinduism is a syncretic blend of old Javanese, Hinduism, Tantri Mahayana Buddhism, animism and ancestral worship and it is expressed through temple festivals, rituals and ceremonies that are offered to the gods and deified ancestors (DAMAI). These gods and deified ancestors are known to enjoy performances of dance, drama and music and as such, ceremonies, festivals and rituals oftentimes comprises of music, dance and theatre. In addition to entertaining and pleasing the gods and ancestors, these theatre and dance performances are presented to demonstrate obedience, to ask favours and to give offerings …show more content…
Unlike the Sanghyang Dedari, Wayang Kulit falls under the category of Bebali dances, and are performances that accompanies religious ceremony. Wayang Kulit is a shadow-puppet play that features a lone puppeteer handling and manipulating cut-out figures before a screen, casting shadows of the puppet on the screen while singing and narrating a story with the accompaniment of gamelan instruments (Brandon, 1967). The puppets used by the puppeteer during the Wayang Kulit performance is believed to be alive and containing a spirit who can only be handled by a dalang (puppeteer). It is believed and understood that the dalang (puppeteer) serves as both as an artist and priest (Rubin & Sedana, 2007, p. 18) and that Wayang Kulit is performed for exorcism and purification, pacifying a dangerous evil spirit and transforming it into a divine spirit through the performance (Rubin & Sedana, 2007, p. 22). The ritual performed through Wayang Kulit is also for spirits of ancestors as it is believed that the “spirits of ancestors return as shadows” (Lim, p. …show more content…
These performances often narrates and enacts adapted stories and themes from the Mahabharata and Ramayana, two major Sanskrit epics of the Hindu religion. The Mahabharata and Ramayana are Hindu scriptures and promotes religious paragons through its stories (Nong, 2008, p. 133). The Mahabharata is a religious work that is well known for the section of the Bhagavad Gita (Song of the Blessed Lord) which is revered as the “Bible of popular Hinduism” (Robinson, 2009). Likewise, the Ramayana is a religious poem that describes the incarnation of God (Vishnu), his struggles with evil (the devil) and how he overcomes them (Buck, 2000, p.