Artist In Bali
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
|