Golek Lambangsari Dance was choreographed by KRT Purbaningrat in Royal Court Kraton Yogyakarta Hadiningrat
Performed by PB Tarunaningrat ( classical dance school ) at Bangsal Sri Manganti Royal Court Kraton Yogyakarta, directed & kendhang played by W.Ragamulya, dancer : W.Suryajatmika..
Legong is a form of Balinesedance. It is a refined dance form characterized by intricate finger movements, complicated footwork, and expressive gestures and facial expressions.
Legong probably originated in the 19th century as royal entertainment. Legend has it that a prince of Sukwati fell ill and had a vivid dream in which two maidens danced to gamelan music. When he recovered, he arranged for such dances to be performed in reality. Others believe that the Legong originated with the sanghyang dedari, a ceremony involving voluntary possession of two little girls by beneficent spirits. Legong is also danced at public festivals
Legong Kraton performance in Ubud depicting The king and the princess bid farewell to each other.
Legong dancers are always girls who have not yet reached puberty. They begin rigorous training at about the age of five. These dancers are regarded highly in the society and usually become wives of royal personages or wealthy merchants.
Classical Legong enacts several traditional stories. The most common is the tale of the King of Lasem from the Malat, a collection of heroic romances. He is at war with another king, the father (or brother) of Princess Ranjasari. Lasem wants to marry the girl, but she detests him and tries to run away. Becoming lost in the forest, she is captured by Lasem, who imprisons her and goes out for a final assault against her family. He is attacked by a monstrous raven, which foretells his death.
The dramatics are enacted in elaborate and stylized pantomime. The two little actresses are accompanied by a third dancer called a tjondong or attendant. She sets the scene, presents the dancers with their fans and later plays the part of the raven.
Kecak (pronounced [ˈketʃaʔ], alternate spellings: Ketjak and Ketjack) is a form of Balinese dance and music drama, and is performed primarily by men, although a few women's kecak groups exist
Also known as the Ramayana Monkey Chant, the piece, performed by a circle of 150 or more performers wearing checked cloth around their waists, percussively chanting "cak" and throwing up their arms, depicts a battle from the Ramayana where the monkey-like Vanara helped Prince Rama fight the evil King Ravana. However, Kecak has roots in sanghyang, a trance-inducing exorcism dance
In its pure form, the ketjak dance is a religious ceremony performed—sometimes for several hours on successive nights, for three to four months—to exorcise evil during times of peril and pestilence. The gamelan orchestra that accompanies most Balinese dance performances is generally absent during a ketjak performance, replaced by the sounds of a male chorus similar to the rhythms of the gamelan. While audiences and photography are not welcome during religious performances of ketjak, recently the "tourist ketjak" has emerged—an abbreviated version of the dance, performed for entertainment.
A.A. Anom Putra dances the Balinese lion dance, Barong Ket, with Semara Ratih on gamelan. Pak Anom adheres to an older, more stately, less frenetic style of Barong dance that he learned from an old master in a mountain village
The sape (sampet, sampeh, sapeh) is a traditional lute of many of the Orang Ulu or "upriver people", who live in the longhouses that line the rivers of Central Borneo. Sapes are carved from a single bole of wood, with many modern instruments reaching over a metre in length.
Initially the sape was a fairly limited instrument with two strings and only three frets. Its use was restricted to a form of ritualistic music to induce trance. In the last century, the sape gradually became a social instrument to accompany dances or as a form of entertainment. Today, three, four or five-string instruments are used, with a range of more than three octaves.
Technically, the sape is a relatively simple instrument, with one string carrying the melody and the accompanying strings as rhythmic drones. In practice, the music is quite complex, with many ornamentations and thematic variations. There are two common modes, one for the men's longhouse dance and the other for the woman's longhouse dance. There also is a third rarely used mode. Sape music is usually inspired by dreams and there are over 35 traditional pieces with many variations. The overall repertoire is slowly increasing.
