- We can wear masks, we can change our lifestyle, we can change our professions to survive in this difficult time, but to stop being creative, to avoid the roots of life for being artistic in the social and cultural activities has been the biggest challenge for Balinese people.
A lot of unexpected things are connected to another, artistic life to the cultural activities, were directly and indirectly had turned the Balinese economy so rapidly that we could not define it.
To stop being creative has affect that we have imagine before. Financially, it has stopped the economy cycle, and it is also led to the downturn of the soul and mental health for the Balinese people.
There for something must be done in order to maintain the creativity of artists and tourism actors in Kemenuh Village, to revive Bali tourism from adversity due to COVID-19, the Kemenuh Tourism Board collaborate with Bali Cultural Cultural Village and community groups in Kemenuh Village to organize monthly cultural programs with the concept of virtual performance as one of the option to a travel recovery medium.
Gambuh is one of the oldest surviving forms in Balinese performing arts, dating to the late Majapahit era (ca. 15th century) with very little known change since this time. Emiko Susilo writes, "when the dance-dramas of Majapahit came to Bali, they had the new task of preserving the tradition of a fallen dynasty" (emphasis in original). It also introduced a new element of narrative to Balinese performing arts that influenced other forms of dance-drama on the island, such as topeng masked dance and arja opera. For centuries it was supported by patronage at the royal courts of Bali's aristocracy, during which it achieved its greatest heights of sophistication. As the courts fell apart in the bloody wars with the Dutch, this support evaporated and much of the art of gambuh was lost. Like the many other arts that formerly depended on royal patronage, gambuh found some community support by playing for temple ceremonies.
Gambuhis now nearly extinct. In 1997, Susilo observed, "In total there are perhaps only four groups that perform in the Gambuh style." It is unpopular even among Balinese performers. The dance and music are technically exacting and complex; the dialogue requires knowledge of the Kawi language. Performances are long and, unlike wayang shows, contain no comic relief, making demands of potential audiences.
Quoted from: Wikipedia.
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