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''Kecak'' (pronounced , alternate spellings: ''Ketjak'' and ''Ketjack'') is a form of Balinese dance and music drama that was developed in the 1930s in Bali, Indonesia. Since its creation, it has been performed primarily by men, with the very first women's kecak group starting in 2006.〔("Cultural Liberty Under Spotlight at Women Playwrights" ), ''Jakarta Post'', 3 December 2006, accessed 13 August 2010〕 Also known as the Ramayana Monkey Chant, the piece, performed by a circle of at least 150 performers wearing checked cloth around their waists, percussively chanting "cak" and moving their hands and arms, depicts a battle from the ''Ramayana.'' The monkey-like Vanara helped Prince Rama fight the evil King Ravana. ''Kecak'' has roots in ''sanghyang,'' a trance-inducing exorcism dance.〔Michel Picard. "'Cultural Tourism' in Bali: Cultural Performances as Tourist Attraction", ''Indonesia'', Vol. 49, (Apr., 1990), pp. 37–74. Southeast Asia Program Publications, Cornell University〕 ==History== ''Kecak'' was originally a trance ritual accompanied by male chorus. In the 1930s, Walter Spies, a German painter and musician, became deeply interested in the ritual while living in Bali. He adapted it as a drama, based on the Hindu ''Ramayana'' and including dance, intended for performance before Western tourist audiences. This is an example of what James Clifford describes as part of the "modern art-culture system"〔James Clifford, ''The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art'' (Cambridge and London: Harvard University Press, 1988), p. 223. Cited in Yamashita (1999), p.178.〕 in which, "the West or the central power adopts, transforms, and consumes non-Western or peripheral cultural elements, while making 'art,' which was once embedded in the culture as a whole, into a separate entity."〔Shinji Yamashita. "Review: Michel Picard, ''Bali: Cultural Tourism and Touristic Culture''", ''Indonesia'', Vol. 67, (Apr., 1999), pp. 177–182. Southeast Asia Program Publications, Cornell University.〕 Spies worked with Wayan Limbak, who popularized the dance by arranging for performances by Balinese groups touring internationally. These tours have helped make the ''kecak'' internationally known. I Wayan Dibia, a performer, choreographer, and scholar, suggests, by contrast, that the Balinese were already developing this form when Spies arrived on the island.〔David W. Hughes, "Review: ''Kecak: The Vocal Chant of Bali,'' by I Wayan Dibia", ''British Journal of Ethnomusicology,'' Vol. 6, (1997), pp. 195–195. British Forum for Ethnomusicology.〕 For example, during the 1920s, the well-known dancer I Limbak had incorporated ''Baris'' movements into the ''cak'' leader role. "Spies liked this innovation," and he suggested that Limbak "devise a spectacle based on the ''Ramayana''," accompanied by ''cak'' chorus rather than gamelan, as would have been usual.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kecak」の詳細全文を読む スポンサード リンク
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