Ancient `Gambuh' dance revives in modern Bali

Ancient `Gambuh' dance revives in modern Bali

By Kunang Helmi-Picard

PARIS, France (JP): "...there will come a moment, during a
temple feast or a cremation, of which ...gamboeh is a recognized
accessory, when one will become aware of a strange wailing of
flutes and rebab, the clash of cymbals and clamor of strident
voices rising above the gay contention of several gamelans and
the tinkle of the pedanda's bell...

"...in a palm-covered space a little removed from the
procession of holy images and offerings one will find a thin
fringe of audience gathered round a number of bearded and
moustached personages in flower-laden crowns above flowing locks,
exuberantly gesticulating."

Judging from this eloquent quotation from Dance and Drama in
Bali, when Beryl de Zoete and Walter Spies compiled the seminal
work in 1938, the Gambuh dance was valued for having retained the
purity of its archaic form despite its obvious decline in
importance.

Indeed experts compare its historical and aesthetical role to
that of Noh in Japan and Kathakali in India.

However, modernization is now threatening this unique dance
and theater form with obsolescence.

Several weeks ago the Indonesian weekly Tempo focused on the
overwhelming problems experienced by dedicated Topeng Cirebon
mask dancers in their efforts to keep the West Javanese dance
tradition alive amidst crushing financial difficulties and the
evident disinterest of contemporary society.

Fortunately for enthusiasts of Gambuh, considered to be the
source of all dance forms on Bali, the ethnomusicologist Alan
Feinstein, representing the Ford Foundation, agreed last year to
a three-year grant with the explicit aim of reviving this ancient
tradition.

The long and complicated formulation of the project was
carried out largely through the unfailing dedication of Cristina
Formaggia, an Italian dancer who has studied the Gambuh is under
I Made Djimat for over ten years in Batuan.

Under the auspices of the Yayasan Wianta, a working committee
of experts and artists was set up including Ni Alit Arini, Ni
Nyoman Candri, Made Bandem and A.A. Djelantik.

The committee focused on efforts to train young successors to
the aging dancers and musicians while documenting any knowledge
of this unique theater form.

The Gambuh project, based in the pura desa adat or village
temple of Batuan will be celebrating its first anniversary in
three months.

At the official presentation to the Governor of Bali in Batuan
on a full moon-lit night last December, committee member
Formaggia reminded the audience of the importance of this form of
total theater, not only for Bali, but also for the international
theater world.

The project, she said, focuses "on refreshing the interest of
the younger generation,"..."making them realize that the
intrinsic value of the Gambuh represents the pinnacle of dance
and voice technique."

Costumes, increasingly expensive, are provided for among other
associated costs.

Apart from regular rehearsals under the supervision of local
artists, including the consummate interpreter of this most
exacting of dance theater forms, I Made Djimat, the Faculty of
Literature of the Udayana University, the Academy of Dance of
Denpasar and the Institute of Hindu Studies have been entrusted
with the dual purpose of collecting data on Gambuh and providing
students with the fruits of their practice and research.

The Australian scholar Adrian Vickers is contributing his
expertise on the subject.

Roots

Though Gambuh is known to have existed for four centuries,
experts estimate that its roots lie in the pre-Islamic kingdoms
of Java.

After the invasion of Bali by the Javanese warriors of the
Majapahit Empire in 1343, the cream of Javanese court culture
mingled with Balinese village culture producing this dramatic
form of dance relating the dynastical struggles of the Singasari,
Daha and Kahuripan kingdoms of East Java.

Up until its apogee in the late 19th century, and early in
this century, the troupes were all male, pre-adolescent boys
playing the female roles.

Principally inspired by themes from the Malat, an old Javanese
romance-cycle, the narrative revolves around the life and deeds
of the mythical hero, Prince Panji, whose quest for union with
the eternal feminine represents the mythical union of male and
female, a recasting of the ancient sun and moon principle found
elsewhere in Asia.

After the instrumental overture by the gamelan gambuh followed
by the pure, and strikingly energetic, dance of the Condong
(maid) of the Putri (princess), Panji's formal quest begins where
dance is mingled with pantomime and dialog sung in a stylized
manner.

The movement and song of the refined and "sweet" characters
contrasts with that of the coarse and strong ones.

The comic routines performed by the pair of Panji's ministers
and his servant Semar, together with the battle scenes, provide
the only counterpoint to the serious narrative plot.

Instant

Semar also enables the audience to understand the plot by
translating for the antagonists.

The highly refined style of this ritual dance coupled with its
generally slow narrative and stately choreographic rhythm is now
being threatened by the demands of "instant packaging" and
excessive abbreviation.

Although there are four main styles of Gambuh in Bali - Batuan
Pedungan, Padang Aji and Anturan, it is mostly performed by
troupes from Batuan.

Besides encouraging performances to continue within the
framework of religious ceremonies, the organizers of the project
also want to establish paying performances for foreigners on the
night of each full moon, in order to introduce them to the
classic Balinese repertoire.

The Gambuh project's troupe in Batuan is now stepping up
preparations to present their offering to the Gods of the fable
island during this week's Balinese Hindu celebrations, Galungan
and Kuningan.