Gadung Kasturi Balinese Dance and Music Inc.
DANCE ORIGIN: Bali
GENRES: Traditional, Classical
ARTISTIC DIRECTOR: Kompiang Metri Davies
First Appearance in SF EDF: 1994
Gadung Kasturi Balinese Dance and Music Inc. was conceived in
1994 to promote and preserve Balinese culture, and it was incorporated
in 2007. Kompiang Metri Davies is artistic director, composer,
choreographer, and primary dancer. She created Nyapuh Jagat in 2009–2010.
TITLE: Nyapuh Jagat (Sweeping/Cleanse/Purify the World)
CHOREOGRAPHER: Kompiang Metri Davies
2012 DANCERS: Kompiang Metri Davies, Fenty Kaliman, Ninik Utami Kunti, Sri
Laksmi, Joyce Lu, Mimi Sasaki, Irma Spars, Irene Wibawa 2012 MUSICIANS: Susanna Benningfield, Tim Black, Kathy Bouvier, Dudley Brooks, Marianna Cherry,
Chandra Ayu Davies, Ralph Davies, Carla Fabrizio, Erica Fuenmayer, Ed
Garcia, Evan Gilman, Barbara Golden, Lisa Graciano, Katie Harrell,
Zach Hejny, Steve Johnson, Jane Magid, Lydia Martin, Silvia Matheus, Paul
Miller, Samuel Wantman, Ken Worthy
Kompiang Metri Davies, Fenty Kaliman, Joyce Lu, Ninik Utami Lunde,
Willis Rengganiasih, Minoo Sarkarati, Irma Spars, Irene Wibawa, Rotrease
2011 MUSICIANS: Timothy
Black, Kathy Bouvier, Dudley Brooks, Marianna Cherry, Phil Cox, Brian
Dahmen, Ralph Davies, Carla Fabrizio, Ed Garcia, Evan Gilman, Barbara
Golden, Lisa Graciano, Rafael Guagliano, Reiko Hasegawa, Steve Johnson,
Evan Laforge, Lydia Martín, Sylvia Matheus, Paul Miller, Monali Varaiya,
Samuel Wantman, Ken Worthy
From Bali’s lush, evergreen landscape of terraced farms comes an offering dance inspired by elements of a traditional temple ceremony. The dance is from the small village of Ngis in East Bali, the birthplace of choreographer/dancer Kompiang Metri Davies. It is called Nyapuh Jagat, which means “sweeping the world”, and it portrays the preparation of a Balinese temple. A Balinese temple’s annual anniversary celebration occurs every two hundred and ten days (a year in the Bali Hindu calendar), and in preparation for this ceremony, the entire temple is cleansed and decorated.
The dancers wear white cloths on their foreheads to summon only good thoughts, and they carry flower petals and temple cloths for purification and decoration. Each dancer also carries one crucial ingredient for the rite: holy water, coconut water, sea water; or a mixture of Balinese herbs. A shower of flower petals symbolizes clearing the mind of all negative thoughts, leaving the fragile, natural beauty of a clear mind, body, and soul.
So that they can pray in peace, the dancers first give offerings to the lower spirits. They then sing about gathering, temple cleaning, and the placement of decorations. To close, Kompiang Metri Davies sings an original prayer in Balinese, after which the dancers toss flowers as the final blessing:
To God in all your manifestations:
to the Goddesses, the Deities,
our Ancestors, and local spirits
We kneel before you in respect
and beg your forgiveness
We ask you to grant peace to the
world, peace within ourselves,
and safety to all living creatures
We offer gratitude for all we have
received and shall receive
We ask you to accept our humble
offerings, to bless them
and make them worthy
Santi Santi Santi Om.
Gamelan musicians weave melodies on bronze metallophones, tuned pot gongs, and bamboo flutes, over the complex rhythms of cymbals, drums, and gongs. The music for this dance showcases a lead instrument, the terompong, a row of tuned gong pots played by one person. A single stroke on the largest gong marks the end of a rhythmic cycle.
TITLE: Tari Topeng TelekTari Topeng Telek is a masked dance—Topeng means mask, and Telek refers to temple guardians. The original creator of Tari Topeng Telek is unknown. Today’s variation was arranged by Gadung Kasturi's Artistic Director Kompiang Metri-Davies. This sequence is from the story of Siva, and is part of the famous ritual drama Barong Telek, which tells about the protector—the Barong—and the demonic destroyer—Rangda. Here, Telek and Jauk characters engage in their own conflict which takes place before the central confrontation between Barong and Rangda. The Telek dancers are the temple guardians and the protectors of good. They wear white masks to reflect their gentle and refined nature. The Jauk dancers are fierce and bold demons who seek to attack the Barong. They wear red masks and long fingernails, to represent anger and destruction.
MUSICAL DIRECTORS: Carla Fabrizio, Paul Miller
DANCERS: Telek - Wan-Chao Chang, Joyce Lu, Rotrease Regan Yates, Irene Wibawa, Jauk - Noni Andarawati Gunarsa, Kompiang Metri-Davies
MUSICIANS: Susanna Benningfield, Kathy Bouvier, Marianna Cherry, Phil Cox, Brian Dahmen, Sonja Downing, Carla Fabrizio, Barbara Golden, Kate Hanley, Steve Johnson, Suzanne La, Evan LaForge, Paul Miller, Jeff Purmort, Made Putrayasa, Michael Steadman, Ketut Suardana, Sam Wantman, Ken Worthy
INTERNATIONAL GUEST ARTISTS: I Dewa Ketut Alit Adnyana
The costume is based on the Balinese temple outfit and its traditional symbols. The gelungan/udeng (hat/headdress) is elaborately ornamented because it covers the holiest part of the body. The lamak covers the torso with softness, and the wide belt holds back desires. The kipas (fan) is used as an extension of the hand, in kindness or as a weapon.
The music is also traditional and it is completely united with the dance. Changes in dynamics, accent, and musical structure are tightly synchronized to the dancers’ hand, foot, and eye gestures, as both dancers and musicians give and follow cues. The Indonesian gamelan is the traditional orchestra, with instruments of bronze, iron, wood, or bamboo.International Guest Musician I Dewa Ketut Alit Adnyana is a highly regarded performer and teacher of traditional Balinese instrumental music. A graduate of the Conservatory of Indonesian Musical Arts, he is a founding member of Gamelan Çudamani, one of the premiere gamelan troupes in Bali. Dewa has toured with Çudamani to the U.S., Canada, Japan, Italy, and Greece. He is one of the core teachers of Çudamani’s educational programs in Bali and has taught gamelan to students from the U.S., Canada, Japan, and the U.K. This year he served as the Artist-in-Residence with the University of California, Santa Barbara Gamelan Ensemble and Guest Musical Director with Gamelan Sekar Jaya.
TITLE: Legong Supraba Duta
DIRECTOR: Kompiang Metri-Davies
CHOREOGRAPHER: Ni Ketut Arini S.S.T.
COMPOSER: I Wayan Sinti, Ph.D.
DANCERS: Wan-Chao Chang, Joyce Lu, Kompiang Metri-Davies, Maria Omo, Irene Wibawa (understudy), Rotrease Yates
MUSICIANS: Avi Black, Kathy Bouvier, Phil Cox, Brian Dahmen, Carla Fabrizio, Barbara Golden, Noni Gunarsa, Reiko Hasegawa, Steve Johnson, Evan LaForge, Andy Lewis, Paul Miller, Susanna Miller Benningfield, Made Moja, Michael Steadman, Sam Wantman, Ken Worthy
Balinese classical dance is associated with Bali’s wondrous temples and courts. There is a vast repertoire of dances within the classical dance tradition, yet what unites the many forms is the notion of dance as offering, and the qualities of suppleness and grace, use of refined lines and detailed gestures of the hands, feet, and eyes, which require great concentration. This tradition is the foundation of the genre of legong dance which originated specifically from the vision of the Balinese Prince of Ketewel in the 19th century. Today, legong epitomizes the female dance style of Bali and there are many different versions of the dance.
In 1982, choreographer Ni Ketut Arini and musical composer I Wayan Sinti, created this particular rendition of legong. The dance was transmitted directly from Arini to Gadung Kasturi’s Director Kompiang Metri-Davies. Legong Supraba Duta enacts one
of the legends found in the great Hindu epic, the Mahabarata. With the
aid of a beautiful nymph, the warrior Arjuna conquers the evil king
Newata Kawaca by shooting an arrow into his tongue thus keeping heaven
and earth safe from evil.
Each piece of the legong costume symbolizes different aspects of the Balinese ethos. The dancer’s belt represents restraint of passion, the bodice symbolizes softness, the headdress marks the head as the holiest most sublime part of the body, while the fans represent weapons used to fight both evil found within the human heart and out in the world.
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