Artist In Bali
like
these are indeed new, and are it reflection of the love of Indonesian
society for their heroes. Further, besides dance-dramas there are
also a great number of individual or group dances which express
the daily lives of the members of society and embody the spirit
of mutual cooperation, Such as the peasant dance, the weaver dance,
the fisherman dance, find others. There are even dances reflecting
the struggle of national heroes defending their independence, such
as the guerilla dance, the patriot dance and the warrior dance.
These new dances are clear indications that Indonesian dancing is
alive, advancing and developing.
This
development of dancing is especially striking in Java and Bali.
This does not mean, however, that dancing in other regions of Indonesia
is not undergoing any development.
Indeed, from the point of view of their places of origin there are
dozens of various styles of dancing and even hundreds of different
kinds and types in Indonesia. For instance, we have the Surakarta
style, the Yogyakarta style, the Sunda style and the East Java style
in Java. In Bali, there are the North Bali style and the South Bali
style. Thus in these two islands alone, Indonesia has six styles
of dancing, and in these six styles there are dozens of different
kinds and types,
Considering
the various styles of Indonesian dancing it is obvious that almost
each region in Indonesia which, has developed its own dancing and
is historically advanced, has a dance style of its own. Surakarta
has Surakarta (Solo) style, Yogyakarta has the Yogyakarta style
and so on with other regions. This does not mean however that the
Surakarta (Solo) style develops only in and can be enjoyed only
by the Surakarta society, that the Yogyakarta style develops only
in and can be enjoyed only by the Yogyakarta society, or that the
Bali style is spiritual nourishment only for Balinese society. No,
not at all. Many Yogyakarta people or dancers learn the Surakarta
style, the Sunda style, the Bali style, the Sumatra style, the Sulawesi
style and so on. Similarly people or dancers from Jakarta learn
the Surakarta style, the Yogyakarta style, the Bali style, the Sumatra
style and other styles. This really proves that though Indonesia
has dozens of dance styles, the names of which indicate their places
or origin, each Indonesian considers the whole as Indonesian dancing
belonging to the whole Indonesian nation. This is,Bhinneka Tunggal
Ika (Unity in Diversity) in Indonesian dancing.
We
can also see the characteristic qualities of Bhinneka Tunggal Ika
from the influence that one style of particular region has upon
another style from a different region. For instance, some Yogyanese
choreographers at present when composing a new dance composition
often take elements of dancing movements from the style of other
region or even melodies accompanying the dances.; are also taken
from melodies from other region.
In
complete harmony with the dual quality of -dancing with its individual
quality on the one hand and social quality on the other, there seems
to be an element of contradiction in dancing, the two qualities
opposing one another. In fact, if the two qualities were separated,
so that dancing were then only an expression of the human soul with
an individual quality, or dancing were only beautiful rhythmical
movements with a social quality, it ' would be obvious that these
two qualities do oppose one another. But in reality, the two qualities,
the individual and the social, are so closely interrelated that
the two do not actually oppose one another.
''.
Dancing, as the expression of the human soul by: means of beautiful
rhythmical movements contains the implication of a social
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