Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts

Abstract

The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali.

Aesthetic criticism of dancers' costumes at Jaranan Pegon's performance in Trenggalek

“…While the core values of traditions may persist, surrounding changes, such as technological advancements and societal shifts, impact their expression and celebration. The evolving nature of traditions, influenced by the development of the times, results in ongoing innovation, signifying that traditions are inherently dynamic [14]. Thus, traditions, as dynamic entities, evolve over time while maintaining their interconnectedness with a changing society.…”

Sintren as a Traditional Performing Art in Mirat Village

“…Preservation is interpreted as the protection, maintenance, and continuity of traditional art forms (Thiagarajan, 2017). Conservation efforts can be carried out in two ways, namely continuing and revitalizing (Dana & Artini, 2022). Continuing traditional arts is a form of activity most often found during society.…”

“…Efforts to continue it are carried out following their interests so that it continues to exist (Quintero & Md Nor, 2016). Meanwhile, revitalizing is an effort to revive art forms or activities that have been existing, but have experienced stagnation and decline, which has led to extinction (Dana & Artini, 2022).…”

An Analysis of Lexicons in Costumes of Baris Gede Dance at Penuktukan Village

“…Therefore, the dance is usually performed by men. Baris Gede dance is a category of tari wali that is performed at the Dewa Yadnya ceremony for the offering of Ida Sang Hyang Widhi Wasa (Artini, 2021). This dance is sacred and designated as a world cultural heritage.…”

“…This dance is sacred and designated as a world cultural heritage. Baris dance comes from the word "bebarisan" which means lined up regularly and refers to the composition of the ranks of the war troops (Artini, 2021). The characteristics of Baris Gede dance are the dancers performed by carrying a long spear to the accompaniment of a gamelan called gong gede (Agung, 1981).…”