janger
The flute begins an eerie tune. and faraway voices chant a strange song that flows from a loud melody to a nearly inaudible high pitch. Two girl singers appear wearing splendid. floral crowns with multi-colored spikes. They advance, allowing another pair to enter, until twelve girls have filed on stage. Slowly, they kneel apposite each other, cocking their heads and darting their eyes to accent the rhythm of the orchestra As the chanting continues, twelve young men silently repeat the girls’ entrance. In con- trast to feminine delicacy, their movements are deliberate and strong. All wear painted mous- taches and bear the self-assured look of a slick courtier. Suddenly, the male formation breaks into frenzied activity of twists, jerks and lunges -all in the tight syncopation of a military drill. with brisk shouts of “0 beh\ 0 beh! D/nga c/inga ding jgnger-gerv Instantly, the shock wave ceases, the men freeze in their positions, and the lonely flute carries the dance back to the soft sways and chanting of the girls. The juxtaposition of the subdued motions of the girls against the dynamic thrusts of the men. the harmonious feminine song againsi the jagged yells of male voices, makes Janger an artful composition of dance, music and fr “* . chorus. A folk dance introduced to the island te’ Jf – in the thirties, Janger also has its origin in the [t._-., -.; 5a/)3/i)W«,’trance ceremony, in which thewo- vt, -. “- men chant the Sanghyang song and the men c • ‘ •*- alternate with the gruff sounds of the Kecak- y,: When the dance first came into existence, it fc -”A spread through the banjars like fire. Every “E village had to have a Janger group, and the dance became a popular social event between young boys and gifis- Within a few years Janger lost its paramount place among the dances, and was replaced in popularity by the Atja opera. Now. Drama Gong. a form of opera ^^^ which originated only in the rnld-GOs, is in ^^B “^ vogue; which only goes to show innovation is ^^^R a star attraction among the Balinese and the ^^H” liveliness of their theatre Is in the constant re- ^^H|. vival of old forms In new styles
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