GAMBUH DESA BATUAN ENSEMBLE
The Gambuh Desa Batuan Ensemble was created in 1993 in the
village of Batuan as a project by the Italian dancer Cristina
Wistari Formaggia. Initially supported by the Ford Foundation, its
aim was to preserve and transmit the practice of this dance drama
among the younger generation. Today, in addition to teaching boys
and girls, the Gambuh Desa Batuan Ensemble performs regularly in
its village, in the temples of Bali and abroad. In 2001 the Gambuh
Desa Batuan Ensemble has been awarded of Wijakosuma prize by the
Indonesian government. It is a permanent part of Theatrum Mundi,
the intercultural ensemble of ISTA, International School of Theatre
Anthropology, which is directed by Eugenio Barba and based in
Denmark (odin@odinteatret.dk - www.odinteatret.dk).
When in Bali, the Gambuh Desa Batuan Ensemble presents
a Gambuh performance at the Batuan Temple every
1st and 15th of the month.
For information: I Wayan Bawa (iwayanbawa77@yahoo.co.id),
Skype ; BawaBali ; Mobile ; 081 936 233 066
; 081 237 485 779
Gambuh Desa Batuan Ensemble Director: I Made Suamba
Gambuh Desa Batuan Ensemble Artistic Director: I Wayan Bawa
Supported through the Gambuh Fund (for information see Gambuh
Fund) by Odin Teatret and IKC (Interkulturelt
Center)
GAMBUH DESA BATUAN ENSEMBLE
About Gambuh
Gambuh is Bali's oldest surviving performance genre, comparable
to Noh theatre in Japan and Kathakali in India. Its music,
literature, acting and dance originated in Java during the
Majapahit era (1292-1527), at the height of the classical
Hindu-Javanese court culture. When the Muslims came to power, the
Hindu-Javanese aristocracy migrated to Bali, which
remains the only Hindu island in the Muslim Indonesian
archipelago.
Gambuh has not changed in essence during the 500 years of its
recorded history and still mirrors the compelling atmosphere and
figures of the ancient Javanese royal courts. Its characteristic
epic form using acting, dance, dialogue, singing and music became
the source of a multitude of dance and performance genres, that
have made Bali such a strong inspiration for today's theatre in the
East as well as in the West. Just one example of this is Antonin
Artaud. When Bali became a Dutch colony in 1908, the glamour of the
royal courts disappeared and Gambuh faded in popularity. Today
Gambuh survives in only a few villages and is in danger of becoming
extinct.
In Gambuh the main characters speak and sing in Kawi (an ancient
literary language) accompanied by attendants who translate their
dialogues into present-day Balinese. The Gambuh dancers sing the
text, often without fully understanding it, having learnt it
through an oral tradition handed down through generations. The
plays are taken from the Malat cycle of tales which
revolves around the heroic mythical Prince Panji's quest for his
beloved Rangke-Sekar.
The Gambuh orchestra of drums, gongs, bells and flutes was
already established long before bronze metallophones,
characteristic of the gamelan orchestra in Bali, made an
appearance. Thus the Gambuh drumming patterns, tunes and musical
structure form the basis of nearly all Balinese music.
Repertory abroad
GAMBUH DESA BATUAN ENSEMBLE
Presents the following performances abroad
TEBEK - JARAN
(The Stabbing of the Horse)
A Gambuh Performance
Gambuh is Bali's oldest surviving performance genre, comparable
to Noh theatre in Japan and Kathakali in India. In Gambuh the main
characters speak and sing in Kawi (an ancient literary language)
accompanied by attendants who translate their dialogues into
present-day Balinese. The Gambuh dancers sing the text. The Gambuh
orchestra of drums, gongs, bells and flutes was already established
before bronze metallophones, characteristic of the gamelan
orchestra in Bali, made an appearance. Thus the drumming patterns,
tunes and musical structure of Gambuh form the basis of nearly all
Balinese music.
This Gambuh performance recounts one of the stories from the
Malat, a cycle of the adventures of Prince Panji.
In this episode, Panji, who is on his search for
his beloved Rangke-Sekar, enters riding his horse and followed by
his attendant. Prabangsa, Panji's crazy half
brother, sees the horse tied beneath a tree and draws his
kriss (dagger) and stabs it along with Panji's groom. But
the horse is not really dead and Panji heals it to the joy of
everybody.
More
information >>>
THE STORY OF DALEM BUNGKUT
A Topeng (Mask Dance) Performance
Topeng, in Balinese, means mask. It is also the
name for any performance with masked characters. Topeng takes its
narratives from the Babad or Chronicles of the
Balinese Kings, reflecting the complex hierarchy of Balinese
society in its social, religious and political structure. The drama
usually begins with characters with full wooden masks which are
archetypes of prime ministers. These characters perform pure dance
to show their skill as dancers. The actual story itself then begins
with the entrance of half mask characters who serve as
storytellers.
In this episode the King of Bali, decides to attack the powerful
and unjust king of the island of Nusa Penida, and sends his Prime
Minister to fight him. The epidode includes a series of grotesque
scenes and ends with the defeat of the evil king thanks to a magic
dagger given to the prime minister by his wife.
BALI JEWELS
A composite performance with classical dances and
clowns
The performance presents an opening ceremonial female dance, a
baris warrior dance, and legong kraton in which three dancers move
from one character to another, changing roles, becoming the
synchronised double-image of the same person. Then Ni Nyoman
Yjandri presents a scene from Wayang Kulit, the shadow puppet
performance, in a version done without the screen and fire (Wayang
Lemah), enabling the spectators to watch the skill of the puppeteer
and her assistant.
The performance ends with a clown version of Shakespeare's
Hamlet. The masked dance-drama of Bali which is called
Topeng (mask) dates back at least five hundred years. Its clowns
(bondres) are among the most loved characters by the
spectators for their humour and imagination. They perform Hamlet's
story giving ample space to improvisation and interaction with the
audience.
MANIK SUARA
Music, songs and dances from Bali
In Bali there are no clear boundaries between dance, drama and
certain forms of music. MANIK SUARA is both a
concert and a performance giving the opportunity to appreciate the
rich gamut of vocal and melodic expressions of Bali's culture, as
well as some of the dances and dialogues which are an integral part
of it. In this performance, the traditional Gambuh orchestra (one
of the oldest surviving dance-dramas from the 15th
century) also includes a gangsa (metallophone) from a
gamelan, a more modern type of orchestra.
1. INTRODUCTION
A newly composed piece in memory of Cristina Wistari Formaggia,
the Italian dancer who, in 1993, created the Gambuh Desa Batuan
Ensemble and its school. It makes use both of the traditional
Gambuh instruments as well as a gangsa.
2. PUPUH MACEPAT
A song often sung by parents and grand-parents to their children
describing the merits and manifestations of Brahma, Vishnu and
Shiva, the three mighty gods of Bali's Hindu religion.
3. BATEL KERAS
A traditional Gambuh melody, welcoming the spectators as well as
enabling the musicians to "warm up" for the performance.
4. MANTRI MANIS DAN GALUH
A love dialogue between Prince Mantri Manis and his beloved
Galuh. It comes from Ardja, a performance genre often
compared to western opera.
5. TAJEN
This vibrating outburst of vocal reactions renders the
atmosphere of a cockfight (tajen), with its preliminary
betting, the crowd inciting the birds which fiercely attack each
other, and the yells of joy and deception at the victory of one of
them.
6. BARIS
A warrior dance with its accompanying music.
7. GADUNG MELATI (Jasmine Song)
A traditional Gambuh melody for the scene of the Queen and her
attendants at court. It is followed by BAPANG GEDE
(Vigorous Action), a more lively music for the meeting and fight
between Prince Tarate-Bang and Prince Panji in a burnt-out
forest.
8. PENGALANG
This is the introductory music, gathering the spectators for a
shadow puppet performance (wayang kulit) while the
dalang (storyteller) performs with invisible puppets
behind an invisible screen.
9. PUPUH DURMA MANIS
This song is an aria from Ardja, performed chorally.
The text exhorts us to empty our hearts and fill them with the good
principles of Dharma, the Universal Law.
10. LEGONG KERATON
A scene from the classic dance of the same name. It is the
moment when the Condong, the court attendant, calls in two
dancers and transforms them into the two protagonists: the King
Lasem who wishes to make approaches to Princess Rankesari.
11. MANTRI MANIS
In this song from Ardja, Prince Mantri Manis sings of
the pleasure of being young and of his delight in making himself
beautiful. As in Gambuh, the aristocratic roles in Ardja
are alus (soft and refined) and are interpreted by
women.
12. JANGER
A song and dance performed both sitting and standing. It takes
place when young people meet, allowing a group of girls and boys to
establish a relationship of merriment and flirtation.
13. JOGED
A dance which is led by women who take the initiative in order
to seduce a man. They invite him to dance, challenging him to
exhibit his temperament and skills.
EXTRA NUMBER: SINOM LADRANG (The Brightness of
Youth)
A traditional melody for gangsa and flutes + choral
song.
Performers and musicians:
Ni Wayan Nugini, Ni Kadek Ariantini, Ni Ketut Sri Kotawati, Ni
Made Srimpi, Ni Wayan Phia Widari Eka Tana, Kadek Wistin, Kadek
Dian Pratiwi, Oktavitin, Ni Wayan Sudiani, Ni Nyoman Juniati, Ni
Nyoman Tjandri, I Wayan Bawa, I Wayan Naka, I Made Lesit, I Made
Suamba, I Nyoman Doble, I Ketut Buda.Astra, I Wayan Kader, I Wayan
Rawa, I Wayan Marca, I Wayan Budiarsa, I Wayan Martawan, I Made
Suteja, I Wayan Suamba, Ida Bagus Made Kertayasa, I Ketut Lida, I
Made Merta, I Ketut Karwan, I Ketut Suwana, I Ketut Sandi, I Made
Budiana, I Made Renanta, I Nyoman Suwida.
I WAYAN BAWA
I Wayan Bawa (Bali) is son of I Nyoman Sadeg, a
renowned interpreter of the masked dance drama Topeng. Since his
youth he has studied Gambuh, Topeng and Tjalonarang, the drama of
magic, under the guidance of I Made Djimat, one of the great
Balinese dance masters. He has also been a student of the Dance
Academy in Denpasar, STSI, and now is the artistic director and
main teacher for the male roles of the Gambuh Desa Batuan Ensemble.
He has collaborated with ISTA since 1995 and is a permanent member
of the Theatrum Mundi Ensemble, participating in the performances
Ur-Hamlet and The Marriage of Medea directed by
Eugenio Barba. Since 2000 I Wayan Bawa also travels alone to give
workshops and present his performance work demonstration The
Total Actor created in collaboration with Julia Varley.
Performance work demonstration
THE TOTAL ACTOR
Song, dance and acting techniques from Bali
A performance work demonstration with I Wayan
Bawa
I Wayan Bawa starts the performance with an offering and an
excerpt from Gambuh, the oldest Balinese form of dance-drama dating
from the 15th century. He enacts the character of the
strong king in full costume introducing the spectators to the
intense richness and connection between the Balinese religious
ceremonies and the stage art forms.
Then I Wayan Bawa makes a short autobiographical presentation
and explains some of the basic principles of Balinese theatre,
dance, music and vocal techniques: posture, steps, right and left
position, manis and keras (soft and strong),
composition and feelings in both male and female characters.
The main part of the performance is dedicated to Topeng, the
well-known Balinese mask dance. First I Wayan Bawa gives a short
explanation of the characteristics of each mask: the silent full
masks, the speaking half masks, the penasar who has the
task of explaining the story to the audience and the comic
bonres (clowns) who interact with the spectators. I Wayan
Bawa then performs a sequence of fixed forms and improvised
dialogue which traditionally starts with the Topeng Tua (the old
man) and ends with Sidya Kharya (the divinity who ends the dance)
by sprinkling blessed water and holding a white cloth as protection
against evil spirits.
Workshop on Balinese Mask Dance
Led by I Wayan Bawa
I Wayan Bawa will introduce the participants to Balinese dance
basic principles which give the necessary stamina for postures
which engage the whole body. He will teach the rules of composition
and modulation of energy and train the participants' voice through
songs and spoken sequences. All these principles are useful to
actors despite tradition and personal aesthetical choices. A
workshop of at least three days will give the possibility to get
acquainted with the use of Balinese masks.
Number of participants: 16, with comfortable work clothes.
GAMBUH FUND
Supported by Odin Teatret and ICK (Interkulturelt
Center)
About the Gambuh Fund
By Julia Varley
All of us who knew Cristina Wistari Formaggia were worried about
what would happen with the Gambuh Desa Batuan Ensemble after her
death. Cristina had dedicated herself completely to this Balinese
village troupe of dancers and musicians in order to save the
ancient Gambuh style of dance/drama from extinction. She took care
of the artistic coherence, of finding the masters to teach the
children, of guaranteeing the funds to pay for rehearsals and
performances.
Odin Teatret has collaborated with Gambuh Desa Batuan Ensemble
since 1998 for various ISTA (International School of Theatre
Anthropology) sessions and symposiums, and for two intercultural
performances, UR-HAMLET and THE MARRIAGE OF MEDEA. Consequently
Eugenio Barba and the Odin actors have spent various weeks with the
ensemble either in Bali or abroad, sometimes even twice a year.
After Cristina's death, in October 2008 Eugenio Barba and I
visited the ensemble in Bali to plan how to help them continue
their work. The visit was a success, and the Gambuh Desa Batuan
Ensemble has continued its activities in Bali and abroad until now,
including a tour to Wroclaw, Poland, in June 2009, to perform
UR-HAMLET directed by Eugenio Barba and all their repertory of
performances, and a tour with the new artistic director, I Wayan
Bawa, to Denmark and Italy in 2011, giving workshops and presenting
the new work demonstration THE TOTAL ACTOR.
At the meeting in 2008 we spoke about the responsibility of
continuing the work Cristina Wistari Formaggia had established. For
the members of the Ensemble it was important to maintain the Gambuh
tradition alive and confront the big task of organisation,
promotion and teaching that lay ahead. Since then the Gambuh Desa
Batuan Ensemble rehearse Gambuh once a week, the Theatrum Mundi
productions once a month, teach Gambuh to children weekly every
Saturday, perform twice a month for paying spectators and at temple
ceremonies each time they are invited. Their ambition is to perform
once a week and to have their performances recognised by the State
so they can perform in the morning for tourists interested in this
ancient form of dance. Every member of the ensemble receives a
minimum payment for their work.
I Made Suamba speaks for the ensemble and I Wayan Bawa is
responsible for the artistic quality. Musicians which are masters
in other forms than Gambuh have also been integrated in the
Ensemble together with some younger dancers and musicians. The
Italian Consul in Bali, Pino Confessa, gives administrative support
when needed. Milvia Terenzi, another Italian living in Bali,
assisted the Ensemble for the first tour abroad.
Many theatre groups and friends who were acquainted with the
work which Cristina Wistari Formaggia developed with the Balinese
Gambuh Desa Batuan Ensemble have wanted to help, also economically.
We all have the wish that the Ensemble and its Gambuh school can
continue so as to preserve this ancient tradition which risks
disappearing.
So in 2008 Odin Teatret started the Gambuh Fund
to collect money to help pay the monthly salaries and expenses in
Bali. Since 2011 IKC (Interkulturelt Center) from Copenhagen gives
a yearly support. The Gambuh Fund is part of the Stanislavski
Fonden (a fund to which Odin Teatret actors pay 1% of their
salaries in order to support projects around the world) but with
separate accounts. The costs to be met are about 15.000 Euro a
year.
We are happy to receive even small
contributions.
If you would like to help please send the money to
Nordisk Teaterlaboratorium/ODIN TEATRET, Nordea Bank Danmark
A/S, Nørregade 14, 7500 Holstebro,
in Danish Kroner, Reg. 2379, Konto 6271 762 532,
SWIFT/BIC NDEADKKK,
IBAN DK1820 0062 7176 2532
in Euro: Reg: 2379, Konto 5036 262 755,
SWIFT/BIC NDEADKKK,
IBAN DK9420 0050 3626
2755
Marking it: Gambuh.
Other supporters:
Alberta and Ettore Formaggia, Italy; Agnete and Tom Strøm,
Norway; Annelis Kuhlmann, Denmark; Erik Exe Christoffersen,
Denmark; Nando Taviani, Italy; Franco Ruffini, Italy; Juste
Ruskyte, France; Laura Mariani - Claudio Meldolesi, Italy; Mario
Raimondo, Italy; Mirella Schino, Italy; Nicola Savarese, Italy;
Raimondo Guarino, Italy; Stefano Geraci, Italy; Teatro de La
Abadía, Spain; Teatro Tascabile di Bergamo, Italy; Wout van
Tongeren, The Nehterlands.
