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Dewi: Portrait of a Balinese Dancer (review)

Dewi: Portrait of a Balinese Dancer (review) Media Review DEWI: PORTRAIT OF A BALINESE DANCER. Produced and directed by Kevin Bird. Written by Kadek Dewi Aryani, Peter Heckmann, Kevin Bird, and Kimo Perry. Koloa, HI: Bird Productions, 2005. DVD $29.99. This ethnographic videotape by Kevin Bird includes the personal story of a young Balinese Dancer (Episode 1: “Dragonfl y,” 25:35 minutes) and the depic- tion of a temple festival Karya Agung Dhirga Yusa Buhmi celebrated every fi fty years over a three-week period (Episode 2: “Temple,” 41:20), as well as a short sequence of extras that have music video attractions. Though the quality of camera work and sound is high and the “Temple” could be useful in teaching on Balinese theatre, the “Dragonfl y” episode is problematical in its use of pop culture notions of Bali and MTV fi lming choices. The piece on the temple festival, which is largely ethnographic in nature, would probably be of most use in a classroom context. It gives a quick explanation of Balinese religion and shows the performing arts inset in the context of the festival with scenes of Pura Agung Besakih, the main temple of the island, and Pura Goa Lawah (popularly known as the Bat Temple). We http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Dewi: Portrait of a Balinese Dancer (review)

Foley, Kathy, --
Asian Theatre Journal , Volume 26 (1) – Apr 1, 2009
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2009 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

Media Review DEWI: PORTRAIT OF A BALINESE DANCER. Produced and directed by Kevin Bird. Written by Kadek Dewi Aryani, Peter Heckmann, Kevin Bird, and Kimo Perry. Koloa, HI: Bird Productions, 2005. DVD $29.99. This ethnographic videotape by Kevin Bird includes the personal story of a young Balinese Dancer (Episode 1: “Dragonfl y,” 25:35 minutes) and the depic- tion of a temple festival Karya Agung Dhirga Yusa Buhmi celebrated every fi fty years over a three-week period (Episode 2: “Temple,” 41:20), as well as a short sequence of extras that have music video attractions. Though the quality of camera work and sound is high and the “Temple” could be useful in teaching on Balinese theatre, the “Dragonfl y” episode is problematical in its use of pop culture notions of Bali and MTV fi lming choices. The piece on the temple festival, which is largely ethnographic in nature, would probably be of most use in a classroom context. It gives a quick explanation of Balinese religion and shows the performing arts inset in the context of the festival with scenes of Pura Agung Besakih, the main temple of the island, and Pura Goa Lawah (popularly known as the Bat Temple). We

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Apr 1, 2009

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