Gambuh: The Original

Gambuh is recognized as the oldest form of dance drama in Bali. This form stemmed from the court entertainment of East Java in the tenth century (Ariyanto 221). Gambuh also came to Bali during this century, when Princess Sri Gunapriya Dharmaputra of Kediri wed King Udayana of Bali, uniting the kingdoms of Bali and East Java. It has been documented that King Udayana enjoyed Gambuh so much, he build a special stage at his palace for performances (Ariyanto 223). Some kings even performed Gambuh themselves! In Java, the dancers and gamelan orchestra members lived inside the palace and rarely left. Today, Gambuh dancers performing at palaces receive money and gifts of food and new costumes. Gambuh was so important to Balinese royals, that dancers were brought from villages all throughout the kingdom to live at the palace and be trained as Gambuh dancers. In return, the villages were granted land which could be used for cultivation (Ariyanto 223). Needless to say, Gambuh was of the highest importance in Balinese society.

Gambuh is essentially the mother of the other forms of Balinese dance drama, meaning Topeng and Legong both descended from Gambuh. Gambuh is a more dramatic form, featuring Javanese legends of princes, princesses, and revolutions. Early in its life, Gambuh performances lasted all day for three or four days in a row. Now, performances last for a few hours. Gambuh, like Topeng, is nearly always performed during temple festivals (deBoer 121). A Gambuh performance begins by the sound of drums leading the gamelan orchestra. These drums also signal patterns and changes to the dancers. Musically, Gambuh is the most difficult of all Balinese music forms (Ariyanto 225). Gambuh also features some dialogue and cries incorporated into the music. In terms of choreography, Gambuh is very distinct from the other forms, including its own body positions, gestures, and movement (deBoer 125). Similar to Brazilian Carnaval, symbolism in body positions and gestures unite everyday people with the sublime (Da Matta 168). Unlike forms such as Topeng, Gambuh is more rehearsed, with little improvisation (deBoer 125). Each character or group of characters is represented by a distinct costume, musical melody, and dance movement. Most Gambuh narratives performed today circle around a pair of lovers, Prince Panji and Princess Candra Kirana, and their struggles to ultimately become united (deBoer 121). This storyline is almost as old as the Gambuh form itself! 

The differences in Gambuh music are apparent in this video.

You might also be able to spot some movements not seen in Topeng or Legong!

Source: https://www.youtube.com/watch?v=ODRM5pr7c1o

Page Sources: 

Ariyanto, Marianne. 1985 "Gambuh: The Source of Balinese Dance." Asian Theatre Journal 2 (2): 221-230

Da Matta, Roberto, and Ray Green. 1982 "An Interpretation of Carnaval." SubStance. 11-12: 162-170

deBoer, Fredrik, and Made I., Bandem. 1978 "Gambuh: A Classical Balinese Dance-Drama." Asian Music 10 (1): 115-127