Spiesletmedance

ContemporaryAestheticsSpecialVolume3(2011)AESTHETICSANDTHEARTSINSOUTHEASTASIA2011TheRoleofWesternersintheConservationofLegongDanceStephenDaviesUniversityofAuckland,sj.
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AboutCAJournalContactCALinksSubmissionsSearchJournalEditorialBoardPermissiontoReprintPrivacySiteMapPublisherWebmasterTheRoleofWesternersintheConservationofLegongDanceStephenDaviesAbstractTheimageoflegong—sumptuouslycostumedgirldancerscrownedwithfrangiapanis—isthefaceofBalineseculture.
Yetitisonlyoneoftwentydance/dramagenresandprominentinonlysomecenters.
Legong,asecularcourtdance,hasoftenbeen(andstillis)indangerofextinction.
Balinesearenowlessinterestedinlegongthaneverbeforeandmusiciansprefertoplayotherkindsofmusic.
Sincethe1930s,legonghasbeenpresentedattouristconcertsandbyensemblestouringoverseas.
WesternexpatriateshavefoundedlegonggroupsandgenerallybrokeredtherelationbetweenBalineseandforeigners.
Foreignscholarshavestudied,recorded,andfilmedBalineseperformers.
Balinesescholarstakehigherdegreesabroadandco-authorbooksonBalinesedancewithWesterners.
Balineseperformersteachacrosstheworld,whileUnitedStatesandJapanesestudentdancersinBaliemployteachersatratesofpaylocalscannotmatch.
LegonggroupstourBalifromtheUSandJapan.
Non-BalineseinfluencewhataspectsofBalineseculturearepromotedandsustained.
Theimpetusforthecurrent(modestandlocalised)revivaloflegongseemstocomemostlyfromnon-Balinese.
Despiteallthis,legonghasretaineditsautonomyandintegrityasanemblematicBalinesedanceform,andforsomesurprisingreasons.
KeyWordsBalinesedance,gamelan,gongkebardance,legong,tourism1.
IntroductionLegongisagenreofBalinesedanceinwhich(usuallythree)sumptuouslycostumedgirlscrownedwithfrangipanisperformtotheaccompanimentofametalgamelanorchestra.
Legongismorethanthis,though.
ItisthefaceBalipresentstotheoutsideworld.
TheimageofthelegongdancerisusedtoadvertiseandpromoteBalineseculturetoforeigners.
YetthelegongdanceisonlyoneofBali'smanygenresofdanceordramaandisprominentinonlysomeareasoftheisland.
Moreover,thesurvivalofthelegongdancehasbeeninsecureatbest.
InthispaperIdiscusstheroleofWesterninfluenceinthepreservationoflegong.
2.
ThePrecariousSurvivaloftheLegongDanceThelegongdanceachieveditsmodernforminthe1920sand30s,[1]yetitwasunderthreatfromtheoutset.
Anewtypeoforchestra,gongkebyar,wasinventedinthenorthabout1918.
Itbecameincreasinglypopularandsoonspreadtootherpartsoftheisland.
Itdidsoattheexpenseofthepelegonganorsemarpegulinganorchestrasthataccompaniedthelegongdance.
[2]Bythemid-1930s,manyoftheseolderorchestrasweremelteddownandrecastasgongkebyars.
[3]Evenaslateas1966,thefamouspelegonganorchestraofBinohwasthreatenedwiththesamefate.
[4]Intheearly1990s,onlya"handful"ofpelegonganorsemarpegulinganorchestrassurvived.
[5]Andwhilethelegongdancecanbeandusuallynowisaccompaniedbygongkebyar,thatorchestra'sweightiertoneanddifferenttuningareuniversallydeemedunsuitedtothedance.
Moreover,therehasneverbeenareligiousrequirementfortheperformanceofthelegongdance.
[6]Legongisasecularentertainment,originallyforthenobilityandlaterforthewiderBalinesepublic.
Assuch,ithadtocompetefortheaudience'saffectionagainstothergenres,suchasGambuh,Arja,Joged,andJanger.
ThevillageofPeliatanisoneofthemostfamouscentersforthelegongdance,butitwasnotalwaysdominantthere,asthemusicianIWayanGanderaexplainedin1978:From1930-37,thelegongdancewasmuchlikedbythepeopleandthereweremanyrequeststoperformabroad.
Between1937and1949,thelegongdancewasnotmuchperformedandtheJangerdancewastothefore.
From1949-54,legongcamebackintofavorwiththepublicandtherewereimportantrequestsfromAmerica[foritsperformance].
TheJogedBumbungdancewaspreferredin1954-58,withthelegongdancerarelydone.
Since1958,thevillagehasbeenactiveinperformingthelegongdancefortouristsintheyardofPuriKaleran.
[7]Withthe1980s,thechallengetolegong'spopularityincreased.
ThenewformsofSenDratariandDramaGongcapturedtheenthusiasmoftheBalinesepublic,anditwouldberemissnottomentiontheintroductionandspreadoftelevisioninthesameperiod.
Thelegongdancewasalreadythoughttobeendangeredby1974,[8]withbothdepletionintherepertoire,asthedancerswhorememberedthechoreographiesandmusicdied,anddeclineinthenumberoforchestrasandgroupscommittedtoitsperformance.
[9]Despiteacontinuingdedicationtothedanceinsomeofthecentersthatarefamousforit—Saba,Peliatan,Binoh—thepopularityofthelegongdancewithBalinesehascontinuedtowane,asistruealsoforother"classic"genres,suchasGambuhandArja.
Itiswidelyreportedthatmusiciansprefertoplaynewermusicandthatthelocalaudiencenolongerlikesorunderstandsthelegongdance.
ManyBalinesenowcannotfollowthenarrativesignificanceoflegong'shighlystylizedmovements.
Ingeneral,theBalinesepreferinnovationandchangetopreservationandrepetition,atleastsofarasthesecularartsareconcerned.
Indeed,Baliissurelyamongthemostculturallyvolatileofsocieties.
SoitwouldnothavebeensurprisinghadthelegongdancegonethewayoftheJangerdance,whichinpasttimeswasenormouslypopularbutnowislittleperformed.
Infact,though,legonghaspersistedandattemptstoreviveitcontinue.
PerhapsthisisduemoretoitsemblematicstatuswithWesternersthantoinclinationsnaturaltotheBalinese.
IfthelegongdanceissynonymouswithBaliforWesterners,[10]perhapsitowesitssurvivaltoitsexoticattractivenesstoforeigners.
ThatisahypothesisIexplorefurtherinthefollowingsections.
3.
TheExportofBalineseCultureWesternershavebeenexposedintheirowncountriestotheBalinesearts,especiallymusicanddance,foratleasteightyyears.
WhenBalineseculturewasfirstexportedfromtheisland,thelegongdancewasprominent.
ItwasfeaturedinthefirstoverseastourbyaBalineseensemble,acompositegroupfromtheUbudregionthatrepresentedtheDutchattheParisColonialExhibitionof1931,[11]asitwasalsointheEuropeanandAmericantourofthePeliatangroupin1952.
[12]SubsequentinternationaljourneysbyensemblessuchasGunungSariofPeliatanandGunungJatiofTegesbecameregularfromthe1970s.
AnditwasaboutthesametimethatBalineseteachersofdanceandmusicfoundemploymentoffshore,especiallyintheUS,whileafewBalinesedancersandmusicians(suchasDr.
WayanSinti,Dr.
NyomanSumandi,NiMadeWiratini,Dr.
MadeBandem,Dr.
WayanDibia,Dr.
NyomanWenten,andothers)tookscholarlyhigherdegreesintheUS.
BalinesemusicanddancealsogainedWesternexposurethroughsoundrecordingsandfilms.
NoteworthyamongthelatterisHenryDeLaFalaise'sLegong:DanceoftheVirgins,shotintwo-colorTechnicolorin1933.
ThefirstsoundrecordingsweremadebyBekaandOdeonin1927-28andinspiredColinMcPheetogotoBali.
[13]MorerecordingsweremadebytheFahnestockbrothersin1941,[14]butthosewiththebiggestimpactintheWest,becauseoftheirwidespreaddisseminationonaffordableLPs,werefromthe1960sand70sanddonebyJacquesBrunet,DavidLewiston,andRobertE.
Brown.
4.
TheImportofWesternInfluenceAttractedtoBali'sexoticbeautyanditsarts,foreignscholarsandémigréshaveplayedacrucialrolesincethe1920sinbrokeringtherelationbetweenBaliandtheoutsideworld.
TheirimpactonthedirectionoftheartsinBaliwasconsiderable.
Forexample,inthe1930s,notonlywasWalterSpies,withRudolphBonnet,amajorinfluenceonnewstylesofBalinesepainting,hewasalsoresponsible(withKatharaneMershon)forcommissioningthecreationoftheKecakdanceasatouristentertainment.
Hewas,aswell,agreatcollector,founderoftheBalimuseum,andco-authorwithBeryldeZoeteofthefirstbookdevotedtoBalinesedanceanddrama.
[15]Otherlong-termresidents(ColinMcPhee,MiguelCovarrubias,JohnCoast,FredB.
EisemanJr.
)andanthropologistsorethnomusicologists(MantleHood,MargaretMead,MichaelTenzer,amongothers)havewrittenatlengthinEnglishorDutchonBalinesedance,drama,andmusic.
SeveralstudiesofBalinesedanceanddramahaveresultedfromcollaborativeauthorshipsbetweenWesternersandBalinese.
[16]ColinMcPhee,whowrotethemostimportantearlystudyofBalinesemusic[17]aswellasasignificantcommentaryonBalinesedance[18]wasdevotedtopreservingtheclassicalpelegonganrepertoire;thatis,themusicandorchestraassociatedwiththelegongdance.
Writingofthe1930s,whichhedescribesasaperiodofgreatchangeinBalinesemusic,heobserves:"TotrytopreserveinsomeformofrecordthisperiodinBalinesemusic,whileolderstylesandmethodssurvived,becamemydesire.
"[19]McPheearrangedformusicianstobetaughtthemusicandencourageditsrevival.
[20]Activeparticipationbyexpatriatesinthepreservationoflegongstillcontinues.
YayasanPolosseniofTeges,whichisdirectedbyanAustralian,DouglasMyers,hasissuedaseriesofrecordingsoflegongdancesperformedbyareplicaofMcPhee'ssemarpegulinganorchestra.
Myersemploysthefamousdanceteacher,SangAyuKetutMuklin,topassontheoldchoreographiesfromBedulu,whereshewastaughtinthe1930s.
Meanwhile,aNewZealander,VonHatch,advertisestotheexpatriatecommunityinthefollowingterms:"GamelanandDanceAssociation,MekarBhuana,appealsfordonationstobuydancecostumesforouryounglegongdancers.
HelpuspreservetheendangeredSanurlegongdance,"andagain,"MEKARBHUANA-ClassicalGamelan&Dance-performancesforWeddings,Hotels/Villas,Events(Lessons,WeddingCostumes,DanceCostumes,Dressup,Instrumentsourcing).
YouwillbehelpingtopreserveendangeredBalineseartforms.
"[21]NoteveryonewithaninterestinBalineseculturemovesthere,ofcourse.
Somecometostudyforarelativelyshortperiod.
Inadditiontomusicians,significantnumbersofyoungwomenfromJapanandtheUShavearrivedtostudydance.
AfewofthesestayandcontributetoperformanceintheBalinesecontext.
[22]Thenorm,though,isfortheseforeignmusiciansanddancerstoreturntotheirhomeculturesandtohelpkindleintheircompatriotsapassionfortheartsofBali.
[23]Inaddition,foreigndonorshaveearmarkedfundsforthepreservationofindigenousartforms.
OneprominentsourceistheFordFoundation.
In1974-78,itfinancedstudyofthestatusoflegong,documentationofthetradition(includingfilmsoffamousteachers),andattemptstoreviveendangereddances.
OneresultofthisinitiativewasaseriesofscholarlystudiesbyBalinesedancersandmusicians,includingProyekPengembanganSaranaWisataBudayaBali:PerkembanganlegongSebagaiSeniPertunjukan(ProjecttopromoteBalineseculturalthings/events:Promotionoflegongasaperformanceart),whichwasproducedin1974/75byacommitteeincludingPakPanji,thelateINyomanRembang,andDr.
WayanSinti.
TheFordFoundationcontinuestosupportendangeredBalinesearts,suchaslegongandGambuh.
ThemostpowerfulandobviousWesternforceactingonBalinesecultureisthatoftourism.
Thoughculturalperformanceswerearrangedfortouristsasearlyasthe1930s,itwasnotuntiltheadventofmasstourism,beginninginthe1970s,thattheimpactoftourismbecamesignificant.
[24]Amongotherresults,itwasinthelate1970sthatgroupsbeganweeklyperformancesfortourists.
Prominentamongtheseareshowsadvertisedas"legongDances.
"Typically(butnotinevitably),thesecontainonelegongdance,usuallylegongLasem,alsoidentifiedaslegongKeraton,alongwithapotpourriofotherdancesinotherstyles.
Sincethelate1980s,touristsintheUbudregionhavehadthechoiceofthreeorfourdifferentconcertsoneverynightoftheweek.
Thetouristswhoattendtheseshowsareinterestedintheculturalexperience,butmosthavenopriorunderstandingorappreciationofBalinesedanceandmusic.
Therisksofnegativeeffectsfromtouristperformancesarefrequentlydiscussed.
Byrepeatedlyperformingbeforeignorantaudiences,musicianscanbecomeslipshodandbored.
Performerssometimescatertotheinappropriateexpectationsoftheaudience,forexample,byposingfor"photoopportunities.
"Thedancersandmusiciansaresemi-professional(thoughfrequentlyunderpaid),andthishastranslatedintoawidespread,assumptionamongmusiciansthatrehearsalandpracticearenecessaryonlywhereapaidconcert(oratempleceremony)isinprospect.
[25]Inthecaseofthelegongdance,touristconcertsinvolvecleardeparturesfromthetradition.
Usuallyonlyoneworkfromtherepertoire,legongLasem,isplayed;frequentlythisisgivenonunconsecratedstagesthatarenotappropriatelyalignedaccordingtoBalinesecosmologicalprinciplesofspiritualpurityandpower;youngwomen,ratherthanprepubescentgirls,perform;thesungnarrativefrequentlyisdropped;and,whereasthecompleteversionofthepiecelastsupto50minutes,thetouristrenditionisruthlesslycut,sometimestoonly12minutes.
CokordaIstriRatihIryani,thena22-year-olddancerfromPeliatan,isquotedinthemid-1980sassaying,"TheshorterdancesfortouristsarenottrueBalineseculture.
Themovementsarethesamebutthedancesarenotcomplete.
"[26]Onedoesnothavetobedupedbygovernmentpropaganda[27]alleginganintimatetiebetweenthepreservationofcultureandthedevelopmentoftourismtofindbenefitsfromtourismforBalinesedance,however.
Tourismhasincreasedthegenerallevelofwealthtothepointwheremanybanjar—thebasicunitofsub-villagecommunitygovernment—nowcanaffordtwoorthreedifferentkindsofgamelanandtherebycansupportmoreclubsplayingagreatervarietyofmusicanddances.
Thesemarpegulinganorchestrasthathadbecomesorarearenowmakingacomeback,whichdrawsattentionagaintothelegongdance.
Moreover,somegroupshavecometorealizetheycanexploittouristconcertstoexpandandmaintaintheirrepertoires.
Forexample,since1995thelegonggroupTirtaSariofPeliatanhaveperformedtwolegongdancesintheirtouristconcerts(eachof20-25minutes'duration).
Byalternatingtheirprogram,theyhaveaddedthelegongdancesJobog,Kuntir,Kuntul,Pelayon,andSemarandanatotheirtouristrepertoire.
Anothergroup,thePeliatanMasters,haveregularlyperformedamoreorlesscomplete,45-minuteversionoflegongLasemfortourists.
Besides,someofthedeparturesfromtraditionnotedearlierarenotallbad.
AgungRaiofSabasuggests(personalcommunication)thereisnovirtueinperforminglongversionsoflegongdances;eventheBalinesefindthesetiresome.
Providedthedancesareeditedtastefully(cuttingexcessiverepetitionbutnotelidingwholesections),thereisnolossinshorteningthem.
Moreover,olderdancerswhootherwisewouldhaveretiredcancontinuetodisplaytheirtalentsinpublicperformance,aswellasgoingonasteachers.
[28]Thereisanotherwaytouristscouldplayavitalroleinthefutureofthelegongdance:theyhavecreatedamassivelegacyofrecordingsandfilmscoveringmanyBalineseregions.
[29]ManyBalinesemusiciansanddancersbelieveregionalvarietiesofthetraditionaldanceformscannotbelost,evenastheolderteachersdie,solongasthecurrentgenerationcanaccesssuchfilmsandrecordings.
Notsurprisingly,thesourcingandarchivingoffilmmaterialsisnowattractingattention.
5.
RenewalfromWithinMyclaimisnotthatlegongowesitssurvivaltotheinfluence,bothdirectandindirect,ofWesternersthroughtheinteresttheytakeinBali'scultureorinitsotherattractions.
However,Idothinkthat,onewayoranother,WesternershavecontributedsignificantlytothepreservationofBalineseculture.
Theycoulddothissuccessfully,though,onlybysupportingagenuinecommitmenttothesameresultfromtheBalinesethemselves.
WesternerscannotdictateforBalinesewhattheirculturemeanstothem.
Ifthewealth,presence,andinterestofWesternersprovideprospectsforculturalrenewalandconservation,stillitistheBalinesealonewhocantakeupandusethoseopportunities.
Somehavedoneso,asIindicatedindiscussingprogrammingoptionsadoptedfortouristconcertsinPeliatan.
SupportforculturalinvigorationandconservationisofficialpolicyinsomeBalinesequarters.
Forexample,theWalterSpiesFoundationhasasitsmissionthedevelopmentofBalineseart,withanemphasisonthepreservationoftraditionalBalinesevaluesandartforms.
Tofurtherthismission,itsupportsandarrangesabiennialfestival.
In1995,thefestivalwasheldinPeliatanandfocusedonlegongandcloselyrelateddances.
Meanwhile,theuniversityofthearts(ISI,formerlySTSI,formerlyASTI)inDenpasarencouragesscholarlytheseson,andpracticalmasteryof,traditionalartforms,includingthelegongdance.
Inevitably,though,thestyleofthedanceisthatwithwhichtheteacherisfamiliar.
The"official"ISIversionoflegongLasemderivesfromBinohandglossesoverthemanydifferences—somesubtle,somenot—thatdistinguishthedance'schoreographyandmusicinotherareas.
[30]Asimilarriskofhomogenizationiscreatedby"howtolearndance"televisionshowsthatfirstappearedinthelate1970s[31]andwithVCDcompilationsofBalinesedanceissuedbyAnekaandBaliRecordsinthe1990s.
Valuablethoughtheseapproachesare,theypreserveafewperformanceswithouttherebyconservingthetraditionandpracticethatmakeslegongalivingartform.
Thattraditionisonethatexpectschangeandevolutionwithinthedanceanditsstyles.
Italsovaluesandrespectsregionaldifferencesinthemusic,choreographies,andstylesofmovementofthelegongdances.
[32](Moreover,particularlegongdancesaresometimesassociatedwithparticularareasorvillages.
KupukupuTarumisidentifiedwithBeduluandCandraKantawithSaba,forinstance.
)Thesurvivalofthelegongdancerequiresmorethanthepreservationofglass-case,academicspecimens,then.
[33]Itdependsonthewidespreadinvolvementofordinarypeopleinthosevillageswhopridethemselvesontheirhistoryofexcellenceinthelegongdance.
Whenthesegrassrootsareexamined,thesourcesoflegong'sresiliencebecomeclearer.
Thelegongdancecanbemasteredonlybythosewhostartveryyoung,sogreatisthesupplenessitrequiresandthetechnicaldifficultiesitpresents.
Moreover,afoundationinthelegongdanceisregardedasessentialinanyfemaledancerwhoaspirestoperformothergenres,suchasthegongkebyardances.
Thelegongdancesurvivesonlybecauseaconstantstreamofyoungvillagegirlshavethedesireanddisciplinetosubmittotherelentless,prolongedtrainingthatitdemands.
ThepassionfordancingthatformerlyenergizedcentersoflegongexcellencecontinuestoburninBalinesegirlstothisday.
[34]Inthemid-1980s,CokordaIstriRatihIryanisaid,"ItisanembarrassmentforanygirlfromPeliatannottodance.
Everyoneheremustdance.
"[35]Andthesamestillholds,apparently,fortheseveralhundredyounghopefulswhocomeeachdaytothefree90-minutelessonsprovidedinPeliatanbyAnakAgungGedeOkaDalemandhissister.
[36]Onlythemosttalentedandcharismaticfewwillgraduateeventuallytoperforminginpublic.
Theyarethefutureandlifeofthelegongdance.
StephenDaviessj.
davies@auckland.
ac.
nzStephenDaviesteachesphilosophyattheUniversityofAucklandandwritesmainlyaboutthephilosophyofart.
HismorerecentbooksincludeThePhilosophyofArt(Wiley-Blackwell,2006),PhilosophicalPerspectivesonArt(OxfordUniversityPress,2007)andMusicalUnderstandingsandOtherEssaysonthePhilosophyofMusic(OxfordUniversityPress,2011).
PublishedonNovember17,2011.
Endnotes[1]Iamskepticalofclaimstracingtheoriginsofthelegongdancebacktotheearlynineteenthcentury(asinIMadéBandem,"TheEvolutionoflegongfromSacredtoSecularDanceofBali,"DanceResearchAnnual,14(1983),113-119),forreasonsIoutlinein"TheOriginsofBalineselegong,"Bijdragentotdetaal-,land-envolkenkund(BKI),164(2/3):194-211.
(SeealsoAdrianVickers,"WhendidlegongstartAReplytoStephenDavies,"Bijdragentotdetaal-,land-envolkenkund(BKI),(2009)165(1):1-7.
)Theproto-formofthelegongdancewasbasedonNandir,adanceforboys,andwascreatedinthelate-nineteenthcenturybyAnakAgungRaiPerit(dance),IDewaKetutBelacing,andIMadeDuwaja(music).
Theroleofthecondong,servanttoandintroducerofthetwolegongs(astheotherdancersarecalled),wasfirstcreatedbyIdaBagusBoda,ateacherofBadung,after1910(INyomanRembanget.
al.
,ProyekPengembanganSaranaWisataBudayaBali:PerkembanganlegongSebagaiSeniPertunjukan(Typescript:Denpasar,1974-1975)).
(Bandem1983givesthedateas1932.
)Untilthe1930s,theroleofthecondongcouldbedancedbyaboy.
(IWayanRindiofKelandiswasfamousascondong(WalterSpies&BeryldeZoete,DanceandDramaInBali(Singapore:PeriplusEditions,2002),andthereisaphotographof1925picturinghiminthepart.
)TheroleofcondongwasnotintroducedinPeliatanuntil1916(IGustiAyuWartini,legongKeratonPeliatan:SuataTinjuanterhadapStyledanFungsinya(Thesis,AkademiSeniTari,Denpasar,1978))andinSabauntilthe1930s(AgungRai,personalcommunication).
Bythe1930stheformofthedancewassetandgirlsperformedit.
[2]Fordescriptionsandanaccountofthedifferencesbetweenthesetwoformsofthelegongorchestra,seeMichaelTenzer,BalineseMusic(Singapore:PeriplusEditions,1991).
[3]TilmanSeebass,"ChangeinBalineseMusicalLife:"Kebiar"inthe1920sand1930s,"BeingModerninBali:ImageandChange,A.
Vickers,ed.
,(NewHaven:Monograph43/YaleSoutheastAsiaStudies,1966),71-91.
[4]Informedsources(suchasBuKetutAriniAlitandDr.
WayanDibia)describethisparticularorchestraashavingthemostbeautifulsoundforlegongofanyontheisland.
[5]MichaelTenzer,BalineseMusic(Singapore:PeriplusEditions,1991).
[6]Anancestralrelativeofthemodernlegongdance,however,isTopenglegong,areligiousmaskeddanceassociatedwiththevillageofKetewel.
Thisdanceisstillperformed.
[7]IGustiAyuWartini,legongKeratonPeliatan:SuataTinjuanterhadapStyledanFungsinya(Thesis,AkademiSeniTari,Denpasar,1978),pp.
12-13.
Mytranslation.
[8]INyomanRembanget.
al.
,ProyekPengembanganSaranaWisataBudayaBali:PerkembanganlegongSebagaiSeniPertunjukan(Typescript:Denpasar,1974/75).
[9]AmongthecorelegongdancesthatwerelostbythisperiodareRajaCina,GadungMelati,andBremara.
AlegongversionoftheCalonarangstorywasperformedinPeliatanasrecentlyasWorldWarTwo,butnowisgone(EdwardHerbst,VoicesinBali:EnergiesandPerceptionsinVocalMusicandTheater(Hanover:WesleyanUniversityPress,1997)).
AmongthelegongdancesthathavebeenreconstructedandrevivedareKupukupuTarum,Sudasarna,CandraKanta,GuakMacok,LegodBawa,andtheregionallydistinctivePrabangsafromthevillageofTista.
Fewgroupscanperformalltheremainingdancesfromthetraditionalrepertoire—Lasem,Jobog,Pelayon,Kuntir,Kuntul,andSemarandana.
Newlegongdancescanbeandarecreated,butfewofthesehavesurvivedforlong.
Amongthemostlong-livedinthiscategoryareSuprabaDuta,UntungSurparti,andAdipatiAwangga.
[10]AdrianVickers,Bali:AParadiseCreated(Ringwood,Victoria:Penguin,1989).
[11]NicolaSaverse,"1931:AntoninArtaudSeesBalineseTheatreattheParisColonialExposition,"DramaReview,45(3)(2001),51-77.
[12]JohnCoast,DancingOutofBali(Singapore:PeriplusEditions,2004).
[Firstpublishedin1953asDancersofBali(NewYork:G.
P.
Putnam'sSons).
][13]ColinMcPhee,AHouseinBali(Singapore:PeriplusEditions,2000).
Firstpublishedin1947byVictorGollanczLtd.
[14]JamesMcKee,"SouthSeaCollectionComestoFolkArchive,"FolklifeCenterNews,10(1988),4-6.
[15]WalterSpies&BeryldeZoete,DanceandDramaInBali(Singapore:PeriplusEditions,2002).
Firstpublishedin1938byFaber&Faber.
[16]IMadéBandem&FrederikEugenedeBoer,(1995)BalineseDanceinTransition:KajaandKelod(KualaLumpur:OxfordUniversityPress,1981,secondedition,1995).
AndIWayanDibia&RucinaBallinger,BalineseDance,Drama,andMusic(Singapore:PeriplusEditions,2004).
[17]ColinMcPhee,TheMusicofBali:AStudyinFormandInstrumentalOrganizationinBalineseOrchestralMusic(NewHavenandLondon:YaleUniversityPress,1966).
[18]ColinMcPhee,"DanceinBali,"DanceIndex,nos.
7/8(1948),156-207.
[19]ColinMcPhee,TheMusicofBali:AStudyinFormandInstrumentalOrganizationinBalineseOrchestralMusic(NewHavenandLondon:YaleUniversityPress,1966),p.
xiv.
[20]ColinMcPhee,AHouseinBali(Singapore:PeriplusEditions,2000).
Firstpublishedin1947byVictorGollanczLtd.
[21]VonHatch,BalineseAdvertiser(September1-15,2004),pp.
39,42.
[22]AnotablecaseisthatofCristinaFormaggia,anItalian,whoisactiveasaperformerintherevivalofGambuh.
[23]Apotentiallynegativeaspectofthiscommercehasbeenremarked(seethearticleonSangAyuKetutMuklinintheBaliPostofDecember6,1998).
Foreignstudentsarewillingtopayforclassesatrateslocalscannotmatchandthreatentomonopolizethetimeofthebestteachers,therebydenyinglocalchildrenaccesstothem.
Inpractice,though,thisconcernseemsunjustified.
ThebestteachersrecognizearesponsibilitytopassontheirknowledgeandskillstoBalinesechildren,andmostteachthemosttalentedoftheirlocalpupilsfreeofcharge.
[24]HughMabbett,TheBalinese(Wellington:JanuaryBooks,1985)recordsthatthenumberoftouristsincreasedfrom23,000in1970to133,000in1978.
Thefigurefor2001was1,500,000.
(Therehasbeenasubsequentdecline,followingtheterroristbombingsinBali.
)[25]Anumberofoldermusicianshavevoicedthisconcerntome.
AsIWayanGandera,leaderofthegroupGunungSari,putitin1996,"Everythingnowisalittlebitmoney.
"TheBalineseculturehasgenerallybecomelesscommunalistandmoremoney-focusedinrecentdecades.
ThatthisisaninescapableconsequenceofIndonesia'smovetowardamoderneconomydoesnotmakeitlessregrettablewhenonerecallshowdeeplytheBalineseartsarerootedinasharedsenseoflocalcommunity.
[26]HughMabbett,(1985)TheBalinese(Wellington:JanuaryBooks,1985).
[27]CriticallydiscussedinAdrianVickers,Bali:AParadiseCreated(Ringwood,Victoria:Penguin,1989).
Picard1990)andMichelPicard,"KebalianorangBali:Tourismandtheusesof'BalineseCulture'inNewOrderIndonesia,"ReviewofIndonesianandMalaysianAffairs,24(1990)1-38.
[28]CokordaIstriRatihIryani,whowasquotedearlier,speculatedin1985thatshewouldnotbeabletocontinueperformingassheaged,yetshewasstilldancinglegongwithTirtaSariin2005.
Appropriately,thegroupusessomeextremelyskilledandexperiencedolderdancersinthemoredramaticworks,suchaslegongJobogandlegongKuntir.
[29]Inthisrespect,thelegongdanceismuchbetteroffthanGambuhandArja,whichhavehadconsiderablylesstouristexposureandappeal.
[30]Forfurtherdiscussion,seeStephenDavies,"Balineselegong:revivalordecline"AsianTheatreJournal,23(2006),314-341.
[31]IWayanDibia&RucinaBallinger,BalineseDance,Drama,andMusic(Singapore:PeriplusEditions,2004).
[32]Versionsofthelegongdancevaryfromvillagetovillage,andthelocalstyleisusuallyknownonlytoteacherstrainedinit.
SangAyuKetutMuklinteachestheBedulu/Tegesstyle,whichisneithersocalmandsimpleasthatfoundinSabanorsorealisticandfreneticasthatpromotedinPeliatan.
Manyteachershavebeeninfluencedbyvarioussources.
BothNiGustiAyuRakaAstutiandNiKetutAriniAlitwerefirsttrainedintheLebah/Kelandis(Badung)styleofdancing,whichismorerefinedandabstractthanthestylesofSaba,Bedulu,Peliatan,andTabanan,butlaterlearnedotherlegongdancesinSabaorelsewhere.
[33]Anthropologistsandothersarerightlywaryofapproachestotheanalysisofauthenticityinnon-Westernartassumingthatsuchculturesinevitablygeneratelong-standing,staticpracticesthatareimpervioustooutsideinfluences.
Nevertheless,theygotoofarsometimesbyrejectingthemeaningfulnessofattemptsatculturalconservation.
IdiscussthisandrelatedissuesinStephenDavies,MusicalWorksandPerformances(Oxford:ClarendonPress,2001),chapter6.
[34]SomeBalineseteachersdescribethegirlsoftodayaslazy.
Othersobservethat,withtoday'sschooling,extracurricularactivities,andotherdistractions,girlscannolongerdedicateasmuchtimeasinthepasttolearningtodance.
Nevertheless,Westernersareusuallyastonishedattheprolongedconcentrationdeliveredbypupilsevenasyoungasfive,andatthehoursofpracticetheyputin.
[35]HughMabbett,(1985)TheBalinese(Wellington:JanuaryBooks,1985),p.
134.
[36]Inthepast,thebestdancersretainedenormousfameandrespectlongaftertheyretiredfromliveperformance,andmanymarriedintothehighercastes.
Aswell,dancersearnmoneyfromtheirtouristperformances.
Butitisunlikelythatyoungchildrenaremotivatedbysuchconsiderations.
Theyplainlylovedancingforitsownsake.
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