Gambuh Classical Performance Part III

Gambuh performers are typically trained in a fairly large group at ISI (Institut Seni Indonesia Denpasar, Indonesian Arts Institute) in Bali. The village instructor normally teaches the individual, in addition to teaching in small groups of two to ten students. However, practising alone is not uncommon. Mastering the choreography and the vocabulary of movements is generally considered easier than mastering the song, speech and diction required for Gambuh. Some performers are completely trained in villages,

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as in the past, although these days the two training institutes in Bali, SMKI (Sekolah Menengah Kejuruan Indonesia, high school for performing arts) and ISI, are increasingly taking on that role for Gambuh and most other forms.

The training procedure’s duration, quality, accuracy and the intensity of rehearsal vary, but the teaching method is similar. Following the instructor’s direction, a beginner typically trains for the first time on an auspicious day, preceded by a ritual ceremony in order to invoke divine guidance. The rehearsal always begins with, and focuses on, one specific character out of more than a dozen existing stock characters. However, unlike a Western classical acting rehearsal, in which an actor focuses on one identified character, such as Hamlet or Ophelia, and usually begins with the specific language used by the playwright, an actor of Gambuh would focus on the essence of a dramatic character, such as a prince or female servant, that is appropriate to any story that will be performed. Consequently, the idealised body shape, size and appearance of the beginners determines what character they are suitable for and what role they have to master. Someone short and fat will never be allowed to play the prince! In Gambuh dance-drama, as in most performance arts in Bali, dancers are cast for a specific dramatic character based mainly on their looks and physique, although, of course, other aspects are considered, such as talent and physical skills. Casting in this way means that the performer will generally stay with that genre of character for the rest of their training and work. However, as the training moves forward, if it becomes evident that the performer does not have the ability/skill for the assigned character, the instructor will switch the student to another character, based on his growing knowledge of the student’s abilities. The main aspects to consider when training and casting are:

• the body posture of the dancer;

• the face of the dancer;

• the typical voice associated with a certain character;

• the maturity or the degree of skill;

• the artistic experience achieved;

• the personality and profile of the dancer.

The general teaching method that every instructor commonly uses includes (in order): imitation, repetition, emulation, sophistication and perfection. By imitation the instructor provides an example for each movement or each aesthetic component with a distinctive artistic method for a student to imitate. The student may do this through mirroring, puppeting technique (the instructor manipulates the student like a puppet) and/or repeating after the instructor. Verbal directions always accompany the entire process. An instructor usually employs mirroring to teach a movement by providing a specific sequence of movements for the student to copy. While mirroring is done facing the student without touching, puppeting is practised when the instructor needs to mould, hold and manipulate the student’s hands,  fingers, elbows or other body parts, and the instructor stands behind the student. 

This puppeting technique is a key element in the training process as the instructor tries to teach the student muscle memory. The ability to feel and remember an exact position of a particular limb is at the heart of the physical training. It is not unusual for the instructor to lightly kick the students’ feet, physically bend their knees out towards the side or the front, or push their bodies down while lifting their elbows high in order to create a correct body posture or movement correctly. Through these methods, the instructor can introduce, explain and analyse the vocabulary of movement for the students. It is only in recent years that actual mirrors have been used occasionally, borrowing the technique from Western dance training. The Balinese system is based on complete trust in the instructor to be a mirror and puppeteer. Working from behind the student and manipulating the body and muscles in a very precise way to create body memory could well be useful for some aspects of actor/dancer training in the West.