Bangli, Peace and Harmony

Baris Jojor of Penglipuran Customary Village
All Dancers Should be Unmarried Men

Penglipuran Customary Village (5 km from Bangli city) belongs to the territory of Kubu municipality, Bangli sub district, Bangli Regency. This village is known as Penglipuran Traditional Village as it has a uniqueness such as a typical layout, house architecture, angkul-angkul (entrance gate) that are almost uniform in design

At the village sits a memorial monument as an historical milestone of the struggle of Bangli’s hero, Anak Agung Anom Mudita and other men of courage. Bamboo forests which reach 120 hectares also becomes a typical point of interest for travelers that visit the Penglipuran customary village.
As a matter of fact, there is another point that currently becomes a cultural asset of the local village, namely the survival of some sacred dances that are related to religious activities. Those sacred dances are maintained and preserved from generation to generation. They are baris gede, baris presi, baris jojor and rejang renteng.
According to one of the baris (warrior) dancers, Nyoman Suadnya, special for baris jojor should be danced by unmarried men and rejang renteng by virgin girls, while for baris gede and baris presi may be danced by married dancers.
The Sacred baris dance is not equal to that performed for entertainment. All of these sacred warrior dances, according to Suadnya, may only be staged on the execution of odalan or temple festivals. Its costume and gamelan accompaniment are far different from that of warrior dances that are performed on stage for entertainment. Costumes for the sacred baris is simpler and danced by many people, while baris jojor and baris gede is by 16 dancers and baris presi by 8 dancers. On the presentation, baris is accompanied by a gong gede gamelan orchestra.
In the sacred warrior dance, or more known as wali dance, the most important thing is togetherness and its pakems (movement order) are so fixed. Different from the baris dance for entertainment that is more energetic and sometimes the dancer may make improvisations.
With the existence of this sacred dance at Penglipuran Customary village, Suadnya felt to express his gratitude, as the young generation remains to have great interest to preserve the tradition of their predecessors. Its proof is the regeneration of dancers works. In addition, at Penglipuran, there are tens of temples where wali dances should be presented at every temple festival. Thus, it automatically drives all village members to persistently preserve their cultural asset. (BTN/suka)