ABSTRACT

Trance performance in contemporary Bali includes Sutri, female fire dance; Onying, male kris, sword dance; and Sanghyang, spirit dance. These dances are derived from ancient, animistic practices. The Sutri, Onying and Sanghyang are called ritual trance dances because the performance’s movements, gestures and choreography are highly stylistic. The observers also receive divine guidance or direction while the dancer is in trance. In addition to the actual dances are the performers: balian, healers who are human channels of spirits, and sadeg, shaman. Healers’ and shamans’ performances function as moderators or bridges between this world and the spiritual realm. They access information from the invisible-upper-world and then transmit it for the community through traditional speech and diction. These practices are believed to be the origins of the current shadow-puppet theatre. Although these forms have been transformed into a number of fire and kris sword dances for commercial tourist purposes, the authentic forms still survive in some villages on the island.