In 1992 I Ketut Suteja, lecturer STSI Denpasar, featuring a contemporary dance filmed Ngelawang named. This dance is much inspired by the dance Barong Ket is not strange for the people of Bali. Ngelawang (from the mace, which means the door) is a term in Balinese language means the show is moving from one house to another, or from one village to another. Performing such a common practice at the time of the day - major holidays such as Galungan and Brass. In certain places ngelawang also held when disuatu village outbreak.
In this ngelawangnya arable Suteja include both ngelawang idea to drive out evil spirits. In this claim Suteja also includes quite a lot of new movements are full of vitality and wear Balaganjur gamelan to accompany this claim. Ngelawang danced by 8 dancers consisting of four sons and four dancers dancer daughter. In the dance is shown 2 pieces barong tail (only the front of the barong ket) and a punggalan (mask) barong ket. Therefore, once the dominant form of barong in this claim, the claim is also referred to as the "Barong Ngelawang".
Since 1992, the creators of dance in Bali has managed to create several important works, although the play may only be done once. Among cultivated - cultivated Contemporary dance in question is Lady Lata Mahosadhi Arts (1995) and Ruwatan Earth (1997), both works of Nyoman Erawan, and Ram-wana: when Rama becomes Ravana (1999) by I Wayan Dibia. -Arable plots are offering some new things that appear in the themes, elements of the show and the play order. Lil Erawan Arts presents a new interpretation of the story and game Lata Mahosadhi liquid colors. Ruwatan Earth offers theme Ruwatan themselves committed against his own creator (Erawan) which digundul in this show.Ram-wana offer a new interpretation of the Ramayana story are adapted to the socio-political conditions in 1999. In this work involved Dibia Erawan and poetry readings and art installations in the open.
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