Tradition and Unseen Forces in Dancing Village: The Curse Begins
- 3shotcine
- Jan 6
- 4 min read
by Syiva Zahra Arhanni, resident writer at 3shotcine
A hauntingly melodic gamelan tune leads you to the entrance of Desa Penari, a secluded dancing village in rural East Java, Indonesia. Strangely, you’re the only one who hears this enchanting sound. Drawn into a mysterious journey, you seek the answer to one pressing question: “Can my mother be healed?”
A prequel to Simpleman’s KKN di Desa Penari, Dancing Village: The Curse Begins delves deeper into the enigmatic village where the boundary between the human and supernatural world grows dangerously thin. Mila, played by Maudy Effrosina, is on a mission to return a bracelet to the village. Arriving at the village, Mila is met with Ratih, played by Claresta Taufan, a young woman whose mother is suffering the same unexplainable sickness as Mila’s mother.
Who would have thought that her mysterious journey was orchestrated by none other than the village's powerful ruler—Badarawuhi? Played by Aulia Sarah, Badarawuhi’s presence is utterly commanding and impossible to ignore. Her aura—terrifying, manipulative, and devoid of mercy— lingers in the entire village, as if expressing to the people that she is there with them, extending even to the shadowy forest where her unseen palace is said to stand.
The origins of this curse trace back twenty-five years, when seven dawuh were asked to undergo a ritual of uncontrollable, trance-like dancing. The ritual demanded the ultimate price: one dancer would be sacrificed to Badarawuhi. This dangerous act was meant to protect the villagers from her wrath, with one critical condition—her mystical bracelet, which mysteriously appeared in a box, had to be taken far away to sever her influence over the land.
In the movie, Tari Gandrung serves as a chilling and symbolic element that connects the story to the cultural heritage of East Java. Traditionally, the dance is performed as a form of gratitude, often associated with harvest celebrations and communal joy. However, in the movie, this dance takes on a much darker and supernatural tone, becoming a medium through which the mysterious and vengeful spirit of Badarawuhi manifests her power.
The dancers in the movie perform Tari Gandrung with an unsettling intensity, their movements blending grace with an eerie, trance-like quality. The hypnotic gamelan music accompanying the dance amplifies the tension, creating an atmosphere thick with dread and anticipation. The intricate hand gestures and rhythmic footwork, which in real life symbolize harmony and celebration, are transformed into a controlled move by Badarawuhi– all done to plead mercy.
Badarawuhi’s connection to Tari Gandrung further emphasizes the delicate balance between beauty and terror in the village’s traditions. Her presence looms over every movement the dawuh made, making it clear that the dance is no longer a joyous expression but a desperate act of reconciliation. This reinterpretation of a beloved cultural dance adds a layer of haunting depth to the movie, intertwining the sacred and the sinister.
Through the haunting tale of Dancing Village: The Curse Begins, the film conveys how deeply intertwined the spiritual and cultural realms are in Indonesian rural life, where dances and rituals act as bridges to the unseen. This theme echoes the Indonesian philosophy of adat—the customary laws and practices that govern life in many communities.
Dancing Village: The Curse Begins is more than a continuation of the terror from KKN di Desa Penari. It expands the mythos of Badarawuhi, exploring how her presence shapes the lives of those in the village and beyond. The film masterfully blends folklore, suspense, and cultural depth, immersing the audience in a world where the past and present are forever entwined by the haunting beauty of the dance.
In the world of Indonesia’s traditional dances there are Wiraga-Wirama-Wirasa, three aspects of a dance that are connected and not once be separated–as one can not stand on its own. Wiraga represents physical form and movement, focusing on posture and grace. Wirama emphasizes rhythm and harmony, ensuring the performance flows in sync with music or surroundings. Wirasa conveys emotion and feeling, bringing depth and connection to the art.
Specifically in the Bali area where supernaturals and the human world are still very much connected in daily lives, “Kerauhan” often happens (and it’s not shocking that it happens) to dancers during an event. Kerauhan is a religious tradition of the Balinese community, believed to serve as a bridge for communication between the human world and the realm of deities and ancestors. It represents the omnipotence of Ida Sang Hyang Widhi Wasa and His manifestations.
Kerauhan typically occurs when a dancer enters a trance-like state, appearing possessed while performing. In this state, the dancer exhibits behavior beyond rational human logic, such as jumping, dancing amidst flames, and similar actions. Kerauhan differs from general possession, as the sacred force entering the body is Ida Sang Hyang Widhi Wasa along with His manifestations.
Traditional dance, seen as sacred, evokes an unexplainable connection between movement, rhythm, self-control, and expression. As someone who, at some point of her life, experienced traditional dance, it feels like our body does connect to the movement and music rhythm in some ways. As if the start of the music ignites the passion inside, and you feel alive. However, in this movie, the dancers are “controlled” by supernatural forces rather than themselves. It highlights how humans, as we navigate this world, continue to coexist on a delicate boundary with the supernatural.
A review by Syiva Zahra Arhanni, resident writer at 3shotcine.
Syiva is an Indonesian-based writer that loves to write everything related to culture. In her free time, you can find her going into slow coffee bars (she can’t go a day without it) and doing photography.
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