The baris kalemat dance

To the balinese, respecting god is not just done through religious rituals, but also can be done through the arts of dancing. And this is the reason why balinese dances have survived until today.

These dance activities which are a part of religious rituals are done almost throughout bali, accordingly to the various local traditions, whether they are up in the mountains, village, or down at the coastal areas. For instance, the coastal area is always related to fishing, and the custom dance that relates to fishing is the Baris Kalemat dance.

The baris kalemat dance is one form of baris dances that are performed only for religious purposes. The baris kalemat dance is performed by fisherman. The dancers will use tools such as oars and move them impersonating a fisherman rowing hid boat into sea to catch fish. Like most ritual Baris in Badung is categorized as a sacred dance performed by male dancers.

Gebug ende

In a performance, it is common to combine. 2or more elements from diffrerent kinds of arts, whether as a unit or just as an accoumpaniment. For example, dances combined with literature, music with literature, dance with music, etc. There are also some combinations that are inspired from elements that are not related to art, such as acrobatics, magic, martial arts, etc. In balinese dances, elements have been combined in these ways ever since the distant past until the present day. One example of this is the gebug ende.

Gebug ende is an example od a dance that combines dancing and a martial art that is very ppopular in karangasem. Gebug ende is unique. It is performed by men as a competition. Each dancer will have their own rattan whip with which to hit their opponent and a shield to defend themselves. (Gebug = hit, Ende = Shield). This dance was originally used ritual ceremonies to call the rain, but now it has developed and became an inspiration in the cretion of several new dances about heroism.

Klungkung

The smallest regency in Bali is Klungkung Regency. It covers 315 square km of land with 170.612 people living in 4 subdistricts such as Banjarakan, Klungkung, Dawan and Nusa Penida. Even the area is not as wide as other regencies in Bali, Klungkung covers small islands of Nusas such as Nusa Penida, Nusa Lembongan and Nusa Ceningan. In 15th century Klungkung was the capital of Bali. After Patih Gusti Agung Maruti rebelled to Dalem Batur Enggong, the kind who governed moved the capital city from Gelgel to Klungkung.

The regency has very potential aspect to be developed as tourism area. Art, culture and crafting are well developed regarding to social cultural life and religion. The area produces traditional musical instrument, silver, clothes, and also well known with the classical wayang painting of Kamasan which has rich full meaning of religion art.

The region of Klungkung has played a most important role in Bali’s history. It was the seat of rule of Bali’s history. It was the seat of rule of Bali’s most powerful dynasty of rajas, the Dewa Agung, under whom the island was united during a glorious period of rich cultural influence. The great Japanese general, Gajah Mada, pacified and united Bali towards the end of the 13th Century, incorporating the is land into the Majapahit Empire. He set Raja Kapakisan, the first Dewa Agung (“Great Deity”). To rule over the island from his court at Samprangan , near the present town of Klungkung. Several generations later this seat of power was removed to nearby Gelgel, where it established much authority and prestige under the fourth succeeding Dewa Agung

With the collapse of the Majapahit Empire in 1515, many thousands of javanese Hindus, priests, nobles and entire followings of soldiers, artists and artisans fled the onslaught of Islam in Java. Pledging their services to the current Dewa Agung they settled in bali, bringing fresh impetus to the already strongly hinduised culture.

The 16 th century was a golden age for Bali. Under the wise rule of Dalem Baturenggong from his court at Gelgel the island became a strongly unified kingdom, so powerful it was able to conquer and colonize both Lombok and Sumbawa. Under the auspices of the royal court the transplanted Javanese traditions of language and literature, music, dance and sculpture, took firm root. The philosophy fitted perfectly over the beliefs and practises of the people.

Gelgel’s period of peace and prosperity was not fated to last, however. Under the rule of waturenggong,s granson, Di Made, who misused his power to an extreme, the outlying colonies were lost, as well as much of the allegiance of the other Balinese princes. He flirted with the Dutch, and made himself so unpopular in his lifetime that his successor decided the place of Gelgel must be under a curse, and moved his entire court to a new site in Klungkung in 1686.
Although the Raja of Klungkung was still considered by the regional king’s the supreme ruler of Bali, he had little political power, and the structure of the many little kingdoms was more like a confederation at this stage. However, the Klungkung court continued to play a major role in government, diplomacy and the arts. Most of Bali’s nobility are descendants of this royal lineage. Along with the other kingdoms, the Dewa Agung fought the Dutch to the bitter end, leading a ceremonial “puptan” in 1908 after heavy bombardment of both Klungkung and Gelgelby the Dutch artillery. This was the final conquest for the Dutch, giving them control over all of Bali.