Never Ending Art Creativity
Why is enthusiasm for work so strong that it enriches every aspect of Balinese life ?Well, it has to do with the strong belief felt by the people here, a belief which for hundreds of years now has given life in Bali its almost magical quality. The Balinese believe that the God and His manifestations have the same aptitude for dance and music as do mortals, and so during temple ceremonies, especially in the remoter villages, spirits, god and deified ancestors enter the bodies of worshippers who become momentarily possessed by these spirits (trance). These spirits then proceed to dance and sometimes to sing with an unearthly voice through the medium of the person who they have possessed. And to liven the proceedings, the spirits ask that onlookers especially young girls and young men join in with the dancing. Whenever we see the Sang Hyang Dedari or Sang Hyang Jaran, the spirits dance through the bodies of their hosts who are in trance. The spirits descended in the first place because they were invited to do so by the chorus chanting kidung poetry, and often the spirits will request certain verse to see them off back to their resting places.
This spirit or manifestations of god believed to be most adept at filling the arts with life is Siwa. In Hindu texts Siwa is said to reside in the Pura Dalem one of the three temples in each village. Siwa has many contemporaries in the otherworld, who are also fond of the arts, including Durga and other spirits (know under many names according to where oenis in Bali !). Religious teaching in Bali tell us that the Pura dalem is center for Taksu (a kind of divine intervention), especially when related to the arts, and this means that musicians and dancers who seek assistance in this way so as to make their performance all the more attractive and vigorous, will ask for it in the Pura dalem.
Hinduism also give Siwa the name Siwa Natharaja - he who is believed to be the source of Taksu in the arts, and that's why the image of siwa Natharaja is used as symbol for the Bali Arts Festival. Siwa Natharaja is thought to possess no less than 108 forms and types of movements of cosmic dance steps, including the final movement of his dance illustrating his anger and fusion of the world : gentleness, wildness and the height of madness. This theme is discussed in detail by Prof. al Basham in his book The Wonder that was India. Meanwhile Ananda K, Coomaraswamy, in Myths of the Hindus and Buddhists mentions 5 dance movements in particularly which are become known as the Panchakritya, portraying Srishti-creation, evolution: Sthiti-preservation and support: Samhara - destruction: Tiro Bhawa - illusion, Living rest; and Anugraha - release, salvation, grace.
In Balinese Hinduism, the spirits residing in the Pura Dalem are manifested in a number of realizations as either Rangda, or a number of different kinds of Barongs (Barong Ket, Barong Landung, Barong Macan,Barong Bangkal) Whether it's a Barong himself, or Rangda herself, each is given an appellate for example Ratu Ngurah, Ratu Mas, Ratu Ayu, Ratu Gedem Ratu Alit and So on. And in every temple ceremony, be it inside the Pura Dalem, or even in other temples, Barong and rangda often take center stage and serve to fill the ceremony with life and meaning. The show will not only feature dancing but will also include the telling of folk stories and legends, or dramatizations of historical events, And for the telling of folk stories, the cast is expanded and sufficient characters are added so that respective tales can be narrated fully and accurately.
This is how art forms have evolved, which depend for their effect on assistance from the beyond the spirits who are praised routinely during day to day life in Bali. the names of these form are taken from the stories which they retell. For example , the dance dramas Calonarang, Cupak, and many more. In the Calonarang tale, Ratu Ayu appering in the form of Rangda, plays a widow witch called Calonarang or Walu Nateng Dirah. However, if the version of the tale being told takes the theme of the folk story Cupak Gerantang Ratu Ayu then plays the role of the monster Benaru or some member of his family. And so on with other stories Ratu-Ayu might play the part of other characters according to the performance the, Ratu Ayu or Ratu Mas can play any number of characters, according to the plot in hand. Ratu Ayu may, in performance, play characters who symbolize either war like or savage nature which should be avoided by mortal humans. And once again the tale deals with the gods and demons which are the object of work of the people of Bali. Ratu Mas and Ratu Ayuin the form of Rangda, are work shipped and respected as Gods themselves.
With the example of dance drama discussed above, the interesting thing to note of the way the Balinese dance, not only in order to show off their physical agility in dancing, but their ability as as obligation to accompany their respected deities to dance and thus to bring out the best in the dance.
That's why for a Balinense dancer, the act of dancing is always carried out with a feeling of ngayah or devotion and of praise, rather than as a way to satisfy material needs. They strive to dance with and are thrilled when given a chance to share the stage with the spirit life which occasionally inhabits them, because through dancing they are already exhibiting their devotion to God.
Why Exactly then is taksu ? Well, it's an extremely difficult concept to define concisely, and is easier to express with the use of examples the most popular of which is tale of the dancer who, early in his career, was unable to attract an audience and to obtain recognition for his art. He was described as immature, but after several years he became popular and much loved by hiss peers. People said he had finally mataksu-taksu had entered him. Other dancers, although the might have practiced and studied for years, perhaps had not yet enjoyed this transformation, and although they were highly skilled as dancers, they still failed to keep an audience interested. Our fist dancer, meanwhile though not as skilled technically, could already thrill an audience with his charisma.
The moral of the story? Taksu comes from two sources. From within the individual, and also from God in heaven. An artist can indeed improve himself through study and practice, and natural talent is certainly an important requirement for success. However, he should also pay attention to the other factor in his art if he wants that special something else. And where is this extra something to be found ? Most agree that prayers should be made at certain auspicious temples and shrines famous in the art world, while at the same time saying special prayers and mantras called Pangeger prior to entering the stage. The nearest translation we can hope for is probably charisma, but once again. Taksu remains a difficult word to define.
Why is enthusiasm for work so strong that it enriches every aspect of Balinese life ?Well, it has to do with the strong belief felt by the people here, a belief which for hundreds of years now has given life in Bali its almost magical quality. The Balinese believe that the God and His manifestations have the same aptitude for dance and music as do mortals, and so during temple ceremonies, especially in the remoter villages, spirits, god and deified ancestors enter the bodies of worshippers who become momentarily possessed by these spirits (trance). These spirits then proceed to dance and sometimes to sing with an unearthly voice through the medium of the person who they have possessed. And to liven the proceedings, the spirits ask that onlookers especially young girls and young men join in with the dancing. Whenever we see the Sang Hyang Dedari or Sang Hyang Jaran, the spirits dance through the bodies of their hosts who are in trance. The spirits descended in the first place because they were invited to do so by the chorus chanting kidung poetry, and often the spirits will request certain verse to see them off back to their resting places.
This spirit or manifestations of god believed to be most adept at filling the arts with life is Siwa. In Hindu texts Siwa is said to reside in the Pura Dalem one of the three temples in each village. Siwa has many contemporaries in the otherworld, who are also fond of the arts, including Durga and other spirits (know under many names according to where oenis in Bali !). Religious teaching in Bali tell us that the Pura dalem is center for Taksu (a kind of divine intervention), especially when related to the arts, and this means that musicians and dancers who seek assistance in this way so as to make their performance all the more attractive and vigorous, will ask for it in the Pura dalem.
Hinduism also give Siwa the name Siwa Natharaja - he who is believed to be the source of Taksu in the arts, and that's why the image of siwa Natharaja is used as symbol for the Bali Arts Festival. Siwa Natharaja is thought to possess no less than 108 forms and types of movements of cosmic dance steps, including the final movement of his dance illustrating his anger and fusion of the world : gentleness, wildness and the height of madness. This theme is discussed in detail by Prof. al Basham in his book The Wonder that was India. Meanwhile Ananda K, Coomaraswamy, in Myths of the Hindus and Buddhists mentions 5 dance movements in particularly which are become known as the Panchakritya, portraying Srishti-creation, evolution: Sthiti-preservation and support: Samhara - destruction: Tiro Bhawa - illusion, Living rest; and Anugraha - release, salvation, grace.
In Balinese Hinduism, the spirits residing in the Pura Dalem are manifested in a number of realizations as either Rangda, or a number of different kinds of Barongs (Barong Ket, Barong Landung, Barong Macan,Barong Bangkal) Whether it's a Barong himself, or Rangda herself, each is given an appellate for example Ratu Ngurah, Ratu Mas, Ratu Ayu, Ratu Gedem Ratu Alit and So on. And in every temple ceremony, be it inside the Pura Dalem, or even in other temples, Barong and rangda often take center stage and serve to fill the ceremony with life and meaning. The show will not only feature dancing but will also include the telling of folk stories and legends, or dramatizations of historical events, And for the telling of folk stories, the cast is expanded and sufficient characters are added so that respective tales can be narrated fully and accurately.
This is how art forms have evolved, which depend for their effect on assistance from the beyond the spirits who are praised routinely during day to day life in Bali. the names of these form are taken from the stories which they retell. For example , the dance dramas Calonarang, Cupak, and many more. In the Calonarang tale, Ratu Ayu appering in the form of Rangda, plays a widow witch called Calonarang or Walu Nateng Dirah. However, if the version of the tale being told takes the theme of the folk story Cupak Gerantang Ratu Ayu then plays the role of the monster Benaru or some member of his family. And so on with other stories Ratu-Ayu might play the part of other characters according to the performance the, Ratu Ayu or Ratu Mas can play any number of characters, according to the plot in hand. Ratu Ayu may, in performance, play characters who symbolize either war like or savage nature which should be avoided by mortal humans. And once again the tale deals with the gods and demons which are the object of work of the people of Bali. Ratu Mas and Ratu Ayuin the form of Rangda, are work shipped and respected as Gods themselves.
With the example of dance drama discussed above, the interesting thing to note of the way the Balinese dance, not only in order to show off their physical agility in dancing, but their ability as as obligation to accompany their respected deities to dance and thus to bring out the best in the dance.
That's why for a Balinense dancer, the act of dancing is always carried out with a feeling of ngayah or devotion and of praise, rather than as a way to satisfy material needs. They strive to dance with and are thrilled when given a chance to share the stage with the spirit life which occasionally inhabits them, because through dancing they are already exhibiting their devotion to God.
Why Exactly then is taksu ? Well, it's an extremely difficult concept to define concisely, and is easier to express with the use of examples the most popular of which is tale of the dancer who, early in his career, was unable to attract an audience and to obtain recognition for his art. He was described as immature, but after several years he became popular and much loved by hiss peers. People said he had finally mataksu-taksu had entered him. Other dancers, although the might have practiced and studied for years, perhaps had not yet enjoyed this transformation, and although they were highly skilled as dancers, they still failed to keep an audience interested. Our fist dancer, meanwhile though not as skilled technically, could already thrill an audience with his charisma.
The moral of the story? Taksu comes from two sources. From within the individual, and also from God in heaven. An artist can indeed improve himself through study and practice, and natural talent is certainly an important requirement for success. However, he should also pay attention to the other factor in his art if he wants that special something else. And where is this extra something to be found ? Most agree that prayers should be made at certain auspicious temples and shrines famous in the art world, while at the same time saying special prayers and mantras called Pangeger prior to entering the stage. The nearest translation we can hope for is probably charisma, but once again. Taksu remains a difficult word to define.
No comments:
Post a Comment