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function. \VC can even say further that dancing will only have the value of art if there are both dancer and audience. The dancer, as the individual who is conveying the expression of his soul by means of beautiful rhythmical movements, is the first party. While the audience, its the society enjoying and appreciating the beauty of the dancing, is the second party. The high or low aesthetic value of the dancing depends on both parties, the dancer and the audience. Consequently, it dance composition may have a local value, a national value and also an international one, Further, we can say that in dancing there has never been Part pour Part or art for the art's sake; there is only art for the sake of society. Dancing will always be presented to and be devoted to society.

In keeping with that quality, dancing will be vital and alive if it develops in harmony with the growth of the society supporting it, Conversely, if dancing cannot develop in harmony with the growth of the surrounding society it will not develop at all, or very little, and will become static and dead. Such negative symptoms are not to be found in dancing in Indonesia. Naturally, in its development Indonesian dancing is not free from problems, and these to be faced.


A theory useful in analising these problems is that of Professor Arnold Toynbee, the famous English historian, concerning the possibilities for the cultural progress of a nation. Toynbee's theory of ,challenge and response" postulates that a culture develops or makes progress if it can make the appropriate response to a challenge. In the terms of this theory, then, dancing can be said to be developing and alive if it can make a positive response to the challenges facing it.
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. 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.

Irrespective of the period and the environment of its development, Indonesian classical dancing had long ago reached a crystallization of high value and is unique amongst its kind. It cannot be denied that Indonesian classical dances, such as those of classical Bali style, classical Java style (Surakarta and Yogyakarta) and classical Sunda style, have really reached a point of development which has splendid aesthetic value, even though before Independence they were confined to the environment of temples and of the palaces or mansions of the kings and the nobility, and could be performed and enjoyed only by certain classes of Indonesian society. Since Independence, however, Indonesian classical dancing has also undergone a change; it no longer belongs to an exclusive group but is the possession of the whole Indonesian nation. The products of

 

 
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