Hand gestures and hidden meanings: Exploring the semiotics of Balinese legong dance
DOI:
https://doi.org/10.58881/jllscs.v3i3.408Keywords:
cultural heritage, movement symbolism, semiotic movement, cultural preservation, symbolismAbstract
The primary aim of this study is to analyse the layers of symbolism embedded in the Legong dance of Bali. Rather than seeing Legong as simply “traditional dance,” this research investigates its deeper meanings—particularly how gestures, facial expressions, and costume are entwined with cultural myth and identity. The study also seeks to understand how these symbolic forms maintain cultural relevance for Balinese communities in contemporary times. Data collection involved observing Legong performances both live in Bali and through online recordings, ensuring a broad perspective on variations and consistencies. Semi-structured interviews were conducted with dancers, instructors, and cultural practitioners, focusing on how symbolism is taught, experienced, and understood. Informal participation in dance workshops provided an insider’s perspective on the embodied aspects of Legong symbolism. Detailed field notes were maintained, complemented by informal conversations that sometimes occurred in less formal settings like temple grounds. Every movement—from a delicate hand flick to intense, controlled eye movements—serves as a signifier within Balinese storytelling. Dancers are trained to communicate complex narratives about deities, conflict, courtship, and heroism through nonverbal cues. The use of ornate costumes, heavily jewelled headdresses, and vibrant fabrics reinforces the mythic quality of the characters portrayed. Even details like finger extensions and golden crowns contribute to the representation of supernatural or historical figures. Symbolism in Legong is sustained via a mixture of formal instruction and communal participation.
Downloads
References
Anggarawati, N. M. W. (2023). Analyzed Lexicon in Legong Mahawidya Dance Movement: A Descriptive Qualitative Study. International Journal of Language and Literature, 6(2), 76–86. https://doi.org/10.23887/ijll.v6i2.57258
Ardhana, I. G. (2019). Cultural inheritance and the role of traditional dance in Bali. Journal of Balinese Cultural Studies, 5(2), 45-60.
Ariyanto, M. (1985). Gambuh: The Source of Balinese Dance. Asian Theatre Journal, 2(2), 221–230. https://doi.org/10.2307/1124073
Artaud, A. (1976). On the Balinese Theater. Salmagundi, 33/34, 103–114. http://www.jstor.org/stable/40546926
Azmi, A. N. S. (2008). Tradition and Transformation in the Pelegongan Dance Repertoire. Asian Theatre Journal, 25(2), 329–343. http://www.jstor.org/stable/27568456
Bandem, I. M., & deBoer, F. (1978). Gambuh: A Classical Balinese Dance-Drama. Asian Music, 10(1), 115–127. https://doi.org/10.2307/834127
Catra, I. N. (2022). The Evolution Of Performing Arts Patronage In Bali, Indonesia. In A. McGraw & C. J. Miller (Eds.), Sounding Out the State of Indonesian Music (pp. 40–49). Cornell University Press. http://www.jstor.org/stable/10.7591/j.ctv224tndg.7
Coldiron, M., Palermo, C., & Strawson, T. (2015). Women in Balinese “Topeng”: Voices, Reflections, and Interactions. Asian Theatre Journal, 32(2), 464–492. http://www.jstor.org/stable/24737041
Davies, S. (2006). Balinese Legong: Revival or Decline? Asian Theatre Journal, 23(2), 314–341. http://www.jstor.org/stable/4137057
Davies, S. (2007). Balinese Aesthetics. The Journal of Aesthetics and Art Criticism, 65(1), 21–29. https://doi.org/10.2307/4622207
Davies, S., & Korsmeyer, C. (2013). Beauty, Youth, and the Balinese Legong Dance. In P. Z. Brand (Ed.), Beauty Unlimited (pp. 259–279). Indiana University Press. http://www.jstor.org/stable/j.ctt16gzfgd.16
deBoer, F. E. (1989). Balinese Sendratari, a Modern Dramatic Dance Genre. Asian Theatre Journal, 6(2), 179–193. https://doi.org/10.2307/1124459
Dewi, A. A., Budasi, I. G., & Suarnajaya, I. W. (2020). Lexicons in Legong Keraton dance. Lingua Scienta, 27(2), 98-107. Retrieved from https://ejournal.undiksha.ac.id/index.php/JJBI/article/view/26422
Dibia, I. W. (2012). Revitalizing “Arja” in Globalized Bali. Asian Theatre Journal, 29(2), 466–494. http://www.jstor.org/stable/23359526
Djelantik-Soejoto, B. (2005). [Review of Balinese Dance, Drama and Music: A Guide to the Performing Arts of Bali, by I. W. Dibia, Rucina Ballinger, & Barbara Anello]. Asian Theatre Journal, 22(2), 361–362. http://www.jstor.org/stable/4137142
Dunbar-Hall, P. (2008). “Good Legong Dancers Were Given an Arduous Program of Training:” Music Education in Bali in the 1930s. Journal of Historical Research in Music Education, 30(1), 50–63. http://www.jstor.org/stable/40215349
Eiseman, F. B. (2011). Bali: Sekala and Niskala (Vol. 1). Periplus Editions.
Hidayat, A. (2020). The evolution of Legong dance: From sacred ritual to performance art. Bali Arts Journal, 12(1), 22-35.
Jenkins, R. (1978). Topeng: Balinese Dance Drama. Performing Arts Journal, 3(2), 39–52. https://doi.org/10.2307/3245200
Jones, S. (2022). The role of technology in promoting traditional arts: A study on Legong dance. Journal of Performing Arts Research, 6(4), 102-115.
McIntosh, J. (2014). Preparation, Presentation and Power: Children’s Performances in a Balinese Dance Studio. In H. N. Kringelbach & J. Skinner (Eds.), Dancing Cultures: Globalization, Tourism and Identity in the Anthropology of Dance (1st ed., pp. 194–210). Berghahn Books. http://www.jstor.org/stable/j.ctt9qcxqs.15
McIntosh, J. (2025). Community, discipline, control: Teaching and learning dance. In Children Dancing in Bali: Practice, Performance, and Power (Vol. 17, pp. 76–101). Berghahn Books. http://www.jstor.org/stable/jj.21299965.9
McIntosh, J. (2025). Gender, Emotions, Landscape: Dancing Children’s Barong. In Children Dancing in Bali: Practice, Performance, and Power (1st ed., Vol. 17, pp. 127–148). Berghahn Books. http://www.jstor.org/stable/jj.21299965.11
Mitoma, J. (1985). Review of Kaja and Kelod: Balinese Dance in Transition, by I. M. Bandem & F. E. deBoer. Asian Theatre Journal, 2(1), 83–85. https://doi.org/10.2307/1124512
Murgiuanto, S. (1993). Moving between Unity and Diversity: Indonesian Dance in a Changing Perspective. TDR (1988-), 37(2), 131–160. https://doi.org/10.2307/1146254
Picard, M. (1990). “Cultural tourism” in Bali: Cultural performances as tourist attraction. Indonesia, 49, 37–74. https://doi.org/10.2307/3351053
Prabawa, I. W. (2022). Legong dance in modern times: Innovations and adaptations. Bali: Bali Cultural Review.
Putra, I. N. D. (2011). Balinese and Westerners. In A Literary Mirror: Balinese Reflections on Modernity and Identity in the Twentieth Century (pp. 227–266). Brill. http://www.jstor.org/stable/10.1163/j.ctt1w8h3kd.11
Siegel, M. B. (1991). Liminality in Balinese Dance. TDR (1988-), 35(4), 84–91. https://doi.org/10.2307/1146165
Smith, J. (2021). Balinese dance: A cultural heritage of Bali. Bali: Bali Arts Press.
Stepputat, K. (2021). Kecak: The tourist performance. In The Kecak and Cultural Tourism on Bali (pp. 148–192). Boydell & Brewer. https://doi.org/10.2307/j.ctv24tr976.10
Stepputat, K. (2021). From Sanghyang Dedari to Kecak. In The Kecak and Cultural Tourism on Bali (pp. 195–236). Boydell & Brewer. http://www.jstor.org/stable/j.ctv24tr976.11
Stepputat, K. (2021). Almost a Century of Kecak. In The Kecak and Cultural Tourism on Bali (pp. 286–330). Boydell & Brewer. https://doi.org/10.2307/j.ctv24tr976.13
UNESCO. (2011). The importance of intangible cultural heritage. Retrieved from UNESCO website.
Vickers, A. (2009). When did Legong start? A reply to Stephen Davies. Bijdragen Tot de Taal-, Land- En Volkenkunde, 165(1), 1–7. https://www.jstor.org/stable/43817798
Widiada, I. G. (2015). The evolution of Gamelan music in Bali: A historical perspective. Asian Musicology, 5(2), 125–150. https://www.jstor.org/stable/27689502
Winata, R. N. (2018). History of legong dance; Meaning and symbols of Bali Island in the 20th century. International Review of Humanities Studies, 3(1), 1–9. https://www.irhs.ui.ac.id
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2025 Made Ayu Risma Dewi Adnyani, I Ketut Suarja, I Putu Budiarta

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.




