As part of East 15’s Theatre of the East: Balinese Performing Arts and Culture module with the renowned Indonesian Institute of the Arts, the program was led by Prof. I Nyoman Sedana, Ph.D, a distinguished Wayang Dalang (shadow puppeteer). Other instructors included leading Balinese Artists such as Topeng Mask Dancer Prof. I Nyoman Catra, Ph.D and leading international artist/scholar Prof. I Wayan Dibia, Ph.D. The course was an intensive cultural exchange and practical study of the Balinese Dance, Drama and Music Arts including Topeng (Masked Dance Theatre), Wayang Kulit (Ancient Shadow Plays),Legong & Baris (Dance), Kecak (Rhythmic Vocal Chanting with Dance), Arja (Dance Opera and poetry), Gamelan Music plus traditional Mask and Puppet making.
As the Balinese performing arts are deeply rooted in the religious, spiritual and daily lives of its people, Cultural instruction was lead by prominent members of the traditional and religious communities such as Prabhu Darmayasa, Head of Ashram or IB Suamba, and King Gusti Ngurah Kusuma Wardana of Denpasar (yep..a king!).
Further cultural experiences included excursions such as Temple events and Keris at midnight in Ubud, public performances of Kecat at the Uluwatu Temple on a clifftop, local ceremonies such as tooth filling, house blessings and cremations in Denpasar. The module concluded with a cross cultural creation with remarkably skilled ISI students. My own final project was a devising piece incorporating multiple traditional forms in an expression of modern day Balinese living and I can honestly say it was one of the earthiest and most enjoyable theatre experiences I have had.
With the inter-connectedness of the Balinese Arts with the society it serves and the multi-disciplinary approach to the work, like the lushness of the Balinese forest, there is something new and different everywhere you look. The skill and dedication in the Balinese Arts cannot be denied and there is much to learn from and be inspired by. The experience of Balinese private ceremonies can be created in backyards or small and found spaces; the social interaction around Temple performances can be brought to a Community Centre; the forms of Kecak or Arja can influences new approaches to contemporary work and their cross-disciplinary aspects can serve as models for cross-disciplinary or multi-lingual work. The roots of ritual in Topeng provide immediate and visceral expressionistic possibilities that go deep into the human physic and Wayang provides exciting potential in both puppetry and multi-media.
Most importantly though was as reminder. Story telling in the Bali-Hindu beliefs has the power to remind demons of their divine potential and appease the ills caused. If it can do this for demons and gods then it can do the same for human individuals.
We climbed a volcano at dawn, watched sunsets from rice patties, hung off the back of motorcycles ridding up the cost, were blessed with holy water and listened to the thunder of the midnight waves.
A special thanks to Prof. Sedana for sharing his home, his family, his art and his wonderful island with us; Nyoman, Deke, Johnny and the rest of the staff at Prima Cottage in Sanur who made us feel like family; Canada Council for allowing my participation in this exchange to be possible; East 15 making it all happen; and all the incredibly talented Balinese artists we were able to learn from and work with. On an island where everybody plays an instrument or dances – this ranges from conversation with locals (a particular fascinating conversation on Taksu or Divine Inspiration with my driver Wayan on the way to Ubud) to the to practical of being shown how to carve a piece of wood into a mask.
Not a bad way to turn 40.
“Creative meditation…You must take your time and allow yourself to see everything, to be open to everything, to take in the details or you might miss something beautiful.” – from a conversation with Mr. Agung Rai, the founder of ARMA Foundation and Museum
