Baris

  j ust as the Legong is essentially feminime, Baris a traditional war dance, glories the man hood of the triumphant Balinese warrior. The word baris means a line or file, in the sense of a line of soldiers, and referred to the warriors who fought for the kings of Bali . There are numerous kinds of Baris, distinguished by the arms borne by the dancers spear, lance, kris, bow, sword, or shield. Originally the dance was a religious ritual: the dedication of warriors and their weapons during a temple feast from the ritualistic Baris Gede grew the dramatic Baris, a story prefaced by a series of exhibition solo dances which showed a warrior's prowers in battle. It is from these that the present Baris solo takes its form.

The Balinese say a good Baris dancer rare. He must undergo ngorous training to obtain the skill and flexibility that typifies the chivalrous elegance of the male, A Baris dancer must be supple, able to sit on his heels, keeping his knees spread wide apart in line with his body. His face must be mobile to convey fierceness, disdain, pride, acute alertness, and, equally important, compassion and regret-the characteristics of a warlike noble.

The Baris is accompanied by gamelan gong. The relation between dancer and orchestra is an intimate one, since the gamelan must be entirely attuned to the changing moods of the warrior's imperious will. The dancer enters the stage-a field of action where he will display the sublimity of his commanding presence. At first, his movements are studied and careful, as if lie were seeking out foes in an unfamiliar place; when he reaches the middle of the stage, hesitation gives way to self-assurance. He rises on his toes to his full stature, his body motionless with quivering limbs. In a flash, he whirls on one leg. His feet patter the ground to the tumult, of the gamelan, and his face renders the storm of passions of a quick tempered warrior. Such a spectacular show of style, mental control and physical dexterity would intimidate any enemy worthy of the Baris.

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