S25-Quiz #3

• Balinese concept that helps maintain cultural identity
• proper place/time for every activity
• place-natural surroundings and spatial orientation
• time-overlapping calendats

• religious ceremonies
• living
• dead
• gods
• demons
• sages

• for temples’ inauguration
• every 210 calendar days
• purification and exorcism
• invitation for demons to enter and be escorted out
• invitation to gods and ancestors
• entertainment period
• gods’ sendoff

• boisterous full atmosphere
• essential for success
• active participation of whole community

• mountain
• inward
• cardinal north
• closter to gods and purity

• toward sea
• outward
• cardinal south
• demonic forces

• local community identity

• Bali part of in mid-14th century
• Java’s last Hindu empire
• Hindu-Javanese nobles moved to Bali after fall to Demak
• musical traditions traced to Gelgel (pinnacle of Balinese arts after fall)

• Indian epics
• cultural icons of SE Asia
• enacted in most forms of performance arts
• stories tell of Hindu pantheon from mythological times
• major role in theatrical arts of Bali

• sacred
• performances in religious ceremonies

• ceremonial
• in middle courtyard
• god and human audience

• secular
• outside temple or in outer courtyard
• human entertainment

• no “secular” arts in Bali
• wali and bebali distinction due to common Sanskrit root (meaning offering)

• Balinese gamelan timbre; described as ;pulsating; or ;shimmering;;
• Each instrument a pair of metallophones is tuned slightly apart from its partner instrument
• When played together the higher instrument, known as the ;inhaler,; and the lower, the ;exhaler;, create this pulsating effect

• ;wave
• When there is more than one of a single instrument, the inhalers are all tuned alike and the exhalers are all tuned alike
• The Balinese term for vebrato evoking the ocean image as well as breath
• also used to describe the pulsating reverberation of the gong

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• five names of the pitches for Balinese scale
• Each syllable notated w/a Balinese symbol

;

• created in Bali in 1915
• expresses ;explosive; Gong kebyar is tuned to pentatonic, pelog-derived scale called selisi
• at the time of inception of gong kebyar many older, seven-tone gamelan were melted down to reuse the bronze to make new, five-tone selisir keybar ensembles

;

• basic melody
• foundation consists of repeating melodic cycles and their variants.

• communal way of playing an elaborating part
• musicians rely on partner to complete the composite melody

• gangsa interlocking figuration consists of two complementary parts
• polos (;basic; maine part) usually plays on the beat
• sangsih (;differing;) fits into the spaces between polos notes.;

;

• Balinese term for charisma and showing off
• In music, implies extroverted display of virtuosity, confidence, and style.

• dance drama enacting the battle between the evil witch Rangda and the barong
• often done in graveyards for exorcistic purposes and involving trance

;

• intrinsic part of the calonarang dance drama
• has its own set of stories.

• shadow puppets made of rawhide
• puppets are intricately carved and silhouetted against a screen lit by the flame of a flickering coconut oil lamp.

• ritualistic performances

• divine inspiration and ;shifting focal points”
• overcomes performers during the act of performance
• do not always attain this inner state, but it is the desired one
• unaware of what they say or do
• different experience from going into trance.

• performed by a group of men, sometimes numbering in the hundreds, representing monkey armies
• a few male and female principal dancers 
• Seated in concentric circles, “monkeys” provide interlocking cak over a sung melodic line led by a narrator
• always performed outdoors at night around a fire, often in a forest setting outside a temple.