are many variations in the eye movements of dancers: to the side (seledet leser); to the upper corners (seledet tegeh); to the ground and back to the center (nyegut, describing the center vein of a leaf); with the neck and head tilted to the side and returned to the center with the eyes squinting, then widening, symbolizing a tiger awakening from a nap (ngeliyer); and when the dancer catches the eye of a member of the audience, looks away shyly and then focuses again on that person (seledet nganceng).
Make-Up and Costuming
A large component of stage performance is costuming and make-up. The Balinese take this quite seriously and would never consider performing on stage without elaborate alterations in their presentation. Hours can be spent on transforming into princesses, demons and animals. Each dance and every character have their particular type of dress and headdress which clues the audience into knowing who is what. Pots of various colors, hair extensions, false mustaches, razor blades, hair pins and the very necessary safety pins are all part of the dancer's cache.
Backstage, a female dancer portraying a sisya or student of the witch applies her make-up using low lighting and a small mirror. The effects are as dazzling as if she had a professional dressing room at her disposal. Hundreds of fresh frangipani flowers, with one big red hibiscus in the center, are the crowning touch to her make-up.
Putting on a New Face
A basic make-up formula is used for both males and females as well as make-up for specific character types and roles. Since the Balinese use their eyes so much in dance, make-up for the eyes is the most important. The eyes are widened by thick black lines on top and bottom, with a fishtail at the sides. In the past, soot from wood-burning stoves was used for this purpose. The eyebrows are arched and colored. Traditionally, the entire face may have been shaved to emphasize the largeness of the eyes. Since the advent of televised performances, blue and orange eye shadow are used, whereas none was applied in the past. Foundation, rouge and lipstick are used by both male and female actors. The latest touch is glitter gel on the arms!
Probably the most interesting part of stage makeup is the cundang (dot between the eyebrows) symbolizing the Third Eye of strength and concentration. This is usually a simple red or white dot, sometimes an upside-down black V, and one or three white dots (urna) at the outer corners of the eyebrow. Some dancers recite a mantra while drawing this and ask for divine inspiration (taksu). Some say these three dots symbolize the Hindu Trinity of Brahma, Wisnu and Siwa. Others claim it is pure decoration. Today, performers use toothpaste for these dots, whereas in the past pamor (powdered limestone) was used.
In dance-dramas, the make-up is more elaborate. Many attributes of Wayang Kulit puppets are transferred to costumes for actors, particularly for the headdresses. Servant and clown characters and demons sport the most dramatic make-up. The entire face may be painted red, such as that of Rawana in the Hindu epic Ramayana. White dots are painted in semicircular lines around the face for clowns, demons and antagonistic kings. Princes sport huge mustaches and bushy eyebrows. Demonic females have fangs painted on. Monkeys have furry eyebrows and a jutting jaw piece.
Good Hair Days
For female offering dances, the hair is twirled leaving the end dangling in back. In most other dances, the hair is tucked up inside the gelungan (headdress). Women playing male roles tuck their hair up and under in a page-boy. As demons and witches, female performers let their hair flow loosely. Men often wear wigs or hair extensions for strong characters. Refined roles sport headdresses partially covering the dancer's head. Flowers are tucked behind the ears.
Backstage at Pura Dalem Tebesaya, Peliatan. Most dancers can dress themselves, and they can do it in a flash. Sometimes, however, a professional "dresser" will be called upon, especially to tighten the torso cloths so that a smoother line can be achieved.
Ida Bagus Nyoman Mas as the demon Rawana. Demons often sport red faces, exaggerated eyebrows and mustaches and have the requisite fangs.
Ni Komang Suharriati in Taruna Jaya make-up and headdress. The typical make-up for tari lepas (non-dramatic dances) comprises accentuated eye make-up with a layer of blue on the lids and red and gold just under the brows. The thick line of white on the bridge of the nose is to make it appear more aquiline. A headcloth folded in the dara kepek ("slain pigeon") style is particular to this dance.
I Nyoman Budiartha, a strong male dancer of the ancient Gambuh dance, wears modern style make-up. All facial hair is exaggerated and his eyes sport the now traditional blue, red or gold eyeshadow.
The Body as Something To Be Wrapped
Both males and females wrap themselves in many layers of costumes to restrict movement as well as to have a beautiful, sleek line. For refined female roles, a 2.25-or 2.5-meter kain (fabric) is wrapped around the hips to the ankles. The front flap falls center. This cloth has silk-screened designs in prada (gold leaf).
Princesses and maidservants, such as the Condong in Arja and the female dancer in Oleg Tambulilingan, may wear an additional piece of material at the bottom of the kain as a train. Tucked between the dancer's feet, she flips the fabric out of her way as she steps. In refined male roles, the kain, pleated and draped on the left hip, is wrapped from hip to knee, freeing the legs to move easily. Women and refined male dancers often wear white, long-sleeved shirts.
For strong male roles, white trousers are worn with setewel (beaded leggings). A 2-3 meter-long white cloth is draped around the chest with a kancut (long pleated "tail") hanging in front. A gold-patterned saput (cape) of prada worn from the chest to the knees and left open in the center is covered by a short velvet coat with long sleeves. The badong (beaded circular collar) and keris (dagger) tucked into a belt above and behind the shoulder blades complete the costume.
For all female and refined male roles, a plain 8-meter-long sabuk (sash) is wrapped as tightly as the dancer can stand, then covered in an equally long gold-leafed sabuk. Various leather or cloth accessories, such as belts, arm-and wristbands, collars and lamak or awiran (hanging cloth panels), are held in place by elastic bands and safety pins.
Crowning Glory
Headdresses and masks are the holiest parts of the costume. Because the head itself is considered holy, the headgear is often consecrated by a priest and kept in the village or family temple, or in the highest place in a dancer's home. The headdress demarcates the character of the dance, drama and puppets, indicating if the character is alus or keras. Headdresses are given offerings on auspicious days and before being used in a performance. Incense is stuck in the headdresses as part of the blessing. Even dancers performing at tourist venues pray for a successful performance and bless their headdresses and masks.
In dance-dramas, the headdresses often have pandanus leaves sticking out above the ears and girang ("happy") leaves hanging down in front. Both of these plants have mystical protective powers. The girang leaves are are said to help the dancer be calm and confident during the performance.
Most headdresses are topped with flowers, some with only a few red hibiscus or white frangipani, others with a field of flowers. Refined royal male figures and female roles such as Legong have bancangan ("wire trees") filled
