The first set of stories I want to tell are those of some of my most intense and immersive experiences in seeing and learning dance, and which took place in Bali, Indonesia.
I’ve been to Bali several times, and each time I’ve gone to see the sunset kecak dance at the Pura Puseh Hindu temple in Ubud.
Kecak is an awe inspiring sight! Performed entirely by men, though a few women have been allowed to perform since 2006, it is a trance dance based on elements of the Ramayana story. The audience sits in a horse shoe, in the centre of which the ensemble of performers position themselves in concentric circles, crossed legged on the floor. They are bare chested down to their black and white chequered sarongs and have small red flowers tucked over each ear as a blessing. With no musical accompaniment, the ensemble, led by a soloist and narrator, chant “Cek-cek-cek” and “Keh-chak” in layered and polyrhythmic patterns while swaying forwards and backwards, and side to side with their arms in the air shaking their hands. As the sun sets and fires are lit inside the circle the excitement is raised as the energy of the chanting voices, moving bodies and trembling hands increases.
The solo performers enter the circle in a wide legged, bent kneed, turned out stance characteristic of the dance. The torsos of the soloists are erect, their arms are raised away from the body and poised, elbows flexed so that the arms frame their head, shoulders and chest, and gestures are large. Facial expressions are detailed and dramatic, and eye movements emphatic and expressive in the vein of other Asian and Hindu dance drama forms, perhaps most notably Kathakali.
The narrative is that of the Hindu epic Ramayana, and commences as Prince Rama, his wife Shinta (the Indonesian version of Sita) and his brother Lakhsmana enter the woods, whereupon the demon giant Rahwana (Indonesian for Ravana) kidnaps Shinta. Lakhsmana goes in search of Sugriwa, the monkey king, who sends Hanuman to Shinta’s aid. One of the highlights of the performance is when Rahwana’s troops capture Hanoman and place him in a circle of fire in the centre of the performance space, from which he breaks free and burns down Rahwana’s castle, initiating the battle between the forces of Rama and Rahwana. With the help of Hanoman, the monkey king, Rama’s forces defeat Rahwana and rescue Shinta. So, in the classic battle between good and evil good has again prevailed.
The trance element of the dance, derived from the Sanghyang ritual, was originally part of an exorcism ceremony. Beyond the chanting, swaying and shaking, this element is demonstrated by the participants through exercises of endurance, including dancing in and through the fires on the floor without pain or harm. The Sanghyang trance movement and use of voice were adapted by Balinese dancer Wayan Limbak and German painter Walter Spies in the 1930s to incorporate the narrative element. What is striking about the performance is the way that the intensity of the sounds and movement of the human body, rhythmic and heightened, transport the observer into a kinesthetically empathic state of excitement akin to the trance of the performers, creating and feeling of release and catharsis in performers and audience alike.
As I mentioned, I’ve been to see kecak several times now and each time it’s as exciting and fascinating as the first. Maybe I’m susceptible, but I find the rhythmic movement and chanting hypnotic in a way that takes me on and immerses me in the intensity of the narrative and ritual journey!