The divine descent
The word sanghyang means "deity" and performers of the
sacred Sanghyang dances are said to be possessed by specific deities
who enable them to perform supernatural feats. Their role is an
overtly exorcist one - they assist in warding off pestilence and
ridding the village of black magic.
Trance is induced through incense smoke and chanting by two groups
of villagers women who sing the praises of the gods and ask them
to descend, and a chorus of men who imitate the gamelan using
the word cak" and other sounds.
There are many kinds of Sanghyang. In Sanghyang Dedari, two pre-pubescent
girls (chosen through a "trance test") are gradually
put into trance, dressed in costumes very similar to the Legong
(many scholars feel that the Legong developed from this form).
They are then carried on palanquins or shoulders around the village,
stopping at magically charged spots such as crossroads, bridges
and in front of the homes of people who can transform themselves
into leyak or witches. After this, the sanghyangs lead the villagers
back to a dancing arena at the temple or bale banjar, where, with
eyes closed, they dance for up to four hours. Stories from the
Legong repertoire or dramatic forms based on the Calonarang and
Cupak are reenacted. In some villages, the sanghyang dedari execute
the entire dance mounted on the shoulders of men, performing astounding
acrobatic feats. This part of the ritual is accompanied by a complete
gamelan group, who have been thoroughly trained and rehearsed.
In Sanghyang Jaran, a small number of men are put into trance,
but their transition is much more violent - they fall, convulsed
to the ground and rush to grab hobby horses. During the pre-trance
chanting, coconut shells have been lit, leaving red hot coals.
The trancers are said to be attracted by all forms of fire and
onlookers are required not to smoke. The entranced dancers leap
into the coals, prancing on top of them, picking up the hot pieces
and bathing themselves in fire. The sanghyangs are accompanied
only by a kecak chorus of chanting men.
Both types of Sanghyang may be seen four times a week in Bona,
where it is claimed that the performers are indeed possessed,
albeit by lesser deities.
Dramatic courtly forms
In the 14th century, Bali was conquered by the great Majapahit
kingdom of East Java. As a result, a number of Javanese nobles
and courtiers settled in Bali, bringing with them their dances,
their caste system and a variety of ceremonies which quickly became
interwoven with the rich tapestry of indigenous beliefs and rituals.
The stories of the Gambuh dance drama are principally based on
the Malat tales concerning the adventures of a Javanese prince,
Panji Inu Kertapati, and his quest for the beautiful princess
Candra Kirana. However, the dramatic action centers about the
courts and the pomp which infuses royal battles. The ideals and
manners of 14th century Java and Bali are thus preserved in this
form.
The language of Gambuh is Kawi or Old Javanese, which very few
Balinese understand. 'Mere is little clowning, as more attention
is paid to the choreography than to the story. Perhaps because
of this, there are only three active village troupes left on the
island, all in Batuan. Gambuh is definitely worth seeing, as all
Balinese dance and musical forms may be said to stem from it.
Gambuh is accompanied by a small ensemble in which four to eight
men play meter-long flutes. These, along with a two-stringed rebab,
provide hauntingly beautiful melodies.
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