Village passing the ‘wayang wong’ baton

Just hours before playing the role of the little monkey in the wayang wong dance drama that Wednesday evening in Tunjuk village, Tabanan regency, 10-year-old Adi Wiryatama, fondly called Detu, sat among the colorful costumes. 

“I’ll go take my bath first. I’ve a performance coming up,” said Detu excitedly, without any trace of nervousness in his face.

When asked whether he felt any jitters, the youngest of the Tunjuk wayang wong performers said, “No. This is just performing among the people I know. I did feel some jitters when I played for unfamiliar crowds though.”

Next generation: One wayang wong performer in Tunjuk village, Tabanan regency, is outfitted with a mask before he performs.

I Nyoman Adi Saputra, the 31-year-old performer of the heroic white monkey Hanoman in that evening’s wayang wong, recalled: “I was just about his age when I played my little monkey part. The elders told me that I was still too young. But I insisted on playing [him]. When they didn’t let me play, I cried loudly.” 

“At that time, I was the only youngster, while the rest of the group was several decades older. Kids were limited from playing because the use of the kawi language was considered too difficult for youngsters,” said the elementary school English teacher who now also leads the Pasak Gede Bendesa clan’s wayang wong troupe.

Every 210 days of the saka (Hindu Balinese) calendar, Tunjuk’s 90 Pasak Gede Bendesa clan families celebrate the birth of their extended family’s temple in a sacred Odalan ceremony, featuring a 45-minute-long wayang wong that unravels one of the thousands of stories in the seven episodes of the epic Ramayana.

Continuing tradition: Wayang wong is performed every 210 days of the saka (Hindu Balinese) calendar in Tunjuk.

That Wednesday night, the story was about Hanoman’s quest for a precious stone called Manik Kapuraga, which is guarded by a demonic female creature named Diah Sidarkara in the vast ocean of Tasik Kencana. The precious stone was a necessity for a Melaspas traditional ceremony to be held by King Rama in his ancient kingdom of Ayodyapura.

While little Detu played one of the monkey warriors under the leadership of Hanoman, another performer, Kadek Mahadi, 23, faced a more challenging role. He was the female demonic creature Diah Sidarkara.

Amid the rhythm of the gender (one of the instruments in a gamelan orchestra), Mahadi successfully infused the monster’s horrid character into his dances, gestures and voice. “I learned how to perform
autodidactically by watching the older people,” he said after the performance. Mahadi started performing in wayang wong in the role of one of Hanoman’s monkey soldiers.

“I started because it was cool to perform in front of my peers. Now, there’s also some pride to take part in preserving our own tradition. Who else if not us, the youth?” said Mahadi, who began performing wayang wong when he was in junior high.

He acknowledged that the use of kawi in wayang wong forced him to work extra hard.

“At first, I just memorized the lines. Then, I tried to understand the meanings. As I performed more often, I got used to using the language. But sometimes I run out of the kawi vocab, which forces me to mix it with some Balinese words. It’s better I do that than be speechless,” Mahadi said. 

Balinese culture expert I Made Bandem, a professor of Balinese dance and music at the College of the Holy Cross in Worcester, Massachusetts, categorizes wayang wong as a form of sacred art when it is performed for religious ceremonies at places of worship on certain significant days.

“The most crucial aspect that determines wayang wong sacredness is the use of sacred masks, which from the time of their creation from piles of wood to carved masks are always accompanied by religious rituals.”

To show respect for their sacred masks, just hours before the performance the various masks that will be worn by the performers were also prayed over in a nyambleh ceremony to ask for the power of Pasupati. Among the most sacred is the mask of the goddess of evil, Rangda.  

The Ramayana wayang wong, Bandem continued, is classified as a form of semi-sacred dance drama because it is performed for the gods and can be watched by people.

“Because the Ramayana wayang wong has the nature of total theatrics, with all the elements of drama — singing, dance, gamelan and others — it is not easy for children to perform it,” said Bandem, pointing to the importance of mature appreciation of each of the characters in the stories.

Vivid: Wayang wong stories are taken from the Ramayana, and performers wear elaborate sacred masks during the performances.

“The dialogue in the performance also uses Old Javanese, which is a language difficult to learn. The manner of speech has to be spoken in the right style, similar to the wayang kulit parwa. Not every child or teen is able to perform it,” said Bandem.

Bandem listed the villages in Bali that still have well-preserved wayang wong heritage, which include not only Tunjuk but Tejakula village in Buleleng; Den Tiyis, Mas, Telepud and Madangan villages in Gianyar; Bambang village in Bangli; Kamasan village in Klungkung; Sidemen village in Karangasem; and Yeh Poh village in Jembrana.

Bandem said the preservation of wayang wong is not an easy task due to the complex theatrical substance  and the sacred nature of its equipment and masks.

The clan’s elder, I Made Tiaksa, 66, a former monkey warrior performer himself, and his 76-year-old brother I Wayan Larsa, 76, were pleased that their clan’s wayang wong legacy has been preserved until today because of the presence of the younger generation.

“I have been playing the monkey soldier role since 1967 until the 90s. Being on stage was always my proudest time, but now it is time to pass the baton,” said Tiaksa, with an apparent smile of pride for his successors.

By Agnes Winarti
Photographs by Agung Parameswara
Published in Bali Daily/The Jakarta Post, Thursday, May 24, 2012

**This piece on cultural preservation was shortlisted by board of judges of the Adinegoro Journalism Award as  the Winner of National Press Day award in 2013 in Manado, North Sulawesi, Indonesia.

‘Barongsai’, alive and kicking in Kuta

By Agnes Winarti 

Photo by Anggara Mahendra 

Published in Bali Daily/The Jakarta Post, Wednesday, February 06 2013

Acrobatic: Young performers of Dharmayana Temple troupe rehearse an acrobatic maneuver for their barongsai dance. BD/Anggara Mahendra

Bali’s world famous tourism district of Kuta is mainly known for its frenzied nightlife, but that is not the only thing it offers.

Kuta’s Vihara Dharmayana dance group has ensured that the barongsai (lion) and liong (dragon) dances remain alive and kicking, preserving the ancient Chinese traditions while firmly instilling positive values in the neighborhood’s young ethnic Chinese.

“You have to be highly self-motivated to be able to keep performing barongsai and liong. It requires a lot of discipline, hard work and courage. Once you are serious about practicing it, you won’t have the time or energy to do other stuff, especially staying up all night partying,” said performer and coach Andre Wijaya.

The 27-year-old is part of the second generation of a barongsai and liong group, Pusaka Tantra. The group is from the young community of Sekaha Teruna Teruni Eka Dharma, of Vihara Dharmayana Kuta, located in banjar (hamlet) Dharma Semadhi.

Since high school, the graduate of Bali Tourism Institute STP Nusa Dua fell in love with the barongsai dance for its similarities with the basic movements of Chinese martial arts such as wushu, Shaolin kung fu and tai chi.

“At first, I never imagined that movements in kung fu films could be performed in real life, but when I started practicing barongsai, I realized it was possible,” said Andre, who idolized Chinese martial artist Yip Man and movie actor Jet Li.

“Being a member of this barongsai group has brought us profound benefits. We get to win many championships, travel to other cities and abroad, and bring Bali’s name to many prestigious barongsai competitions,” said Andre. He was the winner at the 2009 Mayor Cup barongsai competition in Surabaya, East Java.

Andre acknowledged that his love for the performing arts had motivated him to continue returning to the group to share his experiences and skills with his juniors. “Because of my age, it’s not possible to compete in the barongsai world championships, but I hope one of these kids gets there one day,” he said.

That hope does not appear to go unfounded. Since it was created in 2002, Pusaka Tantra has won trophies in competitions in Semarang, Yogyakarta and Surabaya, with the latest national achievement of coming first in the junior traditional category at the National Open Championship of the barongsai and liong dances in Tuban, East Java. For their achievements, some of the members, including Andre, attended a summer camp in Guangzhou,
China.

The three-generation barongsai group has now around 40 members from the tender age of 8 to 17. They train twice a week, but for competitions and special ceremonies, the group intensifies its preparations.

“Usually, we let the youngest kids start by playing the tambur [traditional drum]. If they show enthusiasm and talent, we’ll then coach them in barongsai or liong movements,” said Adhi Dharmaja, 48, the group’s coordinator, who is also the father of one of the junior barongsai performers.

The barongsai group has also performed in many special ceremonies, not only during Chinese New Year celebrations and weddings, but also at Balinese Hindu temples like the Ngusabha Pura Batur and at Kuta Karnival events.

“This group has shown a profound acculturation between our Chinese community and the rest of the Balinese people,” Adhi said.

Pusaka Tantra will parade around and present prayers and offerings at every intersection of Kuta district on the evening before Chinese New Year, known locally as Imlek, which falls on Feb. 10. Meanwhile, during Imlek at 7 p.m., the group will host a performance inside the Vihara Dharmayana compound.

Escorting the Chinese gods back to heaven

By Agnes Winarti 

Photos by Agnes Winarti 

Published in Bali Daily/The Jakarta Post, Tuesday, February 05 2013

Sturdy structure: The temple’s facade with one of its two pagodas on the right side.

On the seventh day prior to Chinese New Year, locally known as Imlek, Chinese-Indonesians, who still hold tight to their Confucian traditions, believe the Chinese gods and goddesses are making the journey home, ascending to heaven.

This day is called Sang Shin (in the Hokkien dialect) or Song Shen (in Mandarin).

As this fell precisely at midnight on Sunday night, some faithful Chinese Indonesians took the time amid their busy schedules to visit the temple, presenting prayers that may escort their gods and goddesses safely back to heaven.

Among these faithful Chinese-Indonesians were young couple Meta Herlina and Kenny, who visited Vihara Satya Dharma on Jl. Pelabuhan Benoa, Denpasar, last Sunday afternoon.

Praying for prosperity: A pair of visitors pray to Cu Seng Nian Nian, the goddess of birth.
“Tonight at midnight is Sang Shin. All the Chinese gods will be returning to heaven. That’s why we’ve come here to pray,” explained Lina, who is originally from Medan, North Sumatra, but has been living in Denpasar for over a year.

Her husband Kenny, who originates from Riau, has been working for a tour guide company in Bali for the past five years.

“We will not be returning to our hometown this year. Usually my husband is very busy entertaining the Chinese visitors who are holidaying in Bali during this period. Even now, the visitors have started coming in,” said Lina, when asked whether they would be gathering with their family back home.

A humble servant of the Vihara Satya Dharma, A. Kheng, 47, said that Sang Shin would mark a very busy week ahead for the temple as it must conduct its spring cleaning. “As the gods have left for heaven, we can start cleaning the whole temple and wipe the gods’ statues, as well as renewing the fruit offerings,” said A. Kheng, while pointing to a pack of some 5-meter-long bamboo brooms that would be used to dust the high ceiling of the temple.

The 8,000 square-meter Vihara Satya Dharma is home to 18 gods and goddesses, who include the temple’s main god, Na Cha, the great fighter of injustice. Na Cha is depicted as a youthful deity, flying in the sky, riding on wind fire wheels, holding the universe ring in his left hand, the red armillary sash around his shoulders and a fire-tipped spear in his right hand.

Meaningful symbols: A large wall inside the Vihara Satya Dharma, boasts paintings of dragons, a lion and a tiger.

Although the temple was just inaugurated in August last year, A Kheng said there had been hundreds of people coming to pray, especially during the first day (ce it) and the 15th day (cap goh) of every month of the Chinese calendar. The temple opens daily from 8 a.m. to 11 p.m.

“I believe there will be thousands of people coming here on Imlek, because we will also present a musical concert by Taiwanese singers to celebrate Chinese New Year here,” said A Kheng. At the entrance of the temple, a poster of the event was displayed, announcing four FTV superstar singers, namely Hsu Fu Kai, Tsai Chia Lin, Kuo Ting Yun and Chang Wen Chi would perform.

The 2564th Chinese New Year will fall on Feb. 10.

I Nyoman Adi Saputra : Breathing new life

By Agnes Winarti 

Photo taken by Agung Parameswara

Published in Bali Daily/The Jakarta Post  | April 16, 2012

I Nyoman Adi Saputra

After working in the hotel business in Denpasar from 2000 to 2006, I Nyoman Adi Saputra, 31, returned to his home in Tunjuk village, Tabanan regency, to dedicate himself to being an elementary school English teacher. Upon returning home, Nyoman also reignited his childhood passion as a Wayang Wong performer, part of his heritage as a member of the Pasak Gede Bendesa clan. This time, he is bringing along youngsters to follow in his path to preserve one of Bali’s most precious performing arts legacies.

Wayang Wong is an ancient form of masked dance usually performing stories taken from the great Hindu epic Ramayana. It is both a wali (sacred art performed only in religious context and settings), and a bebali (performing art that can be staged for entertainment purposes). Its popularity as a bebali dance has steadily decreased, primarily due to the language barrier — Wayang Wong uses the ancient Javanese Kawi as its primary language.

Here are excerpts of his views on the preservation of Wayang Wong in Tunjuk village as he shared with Bali Daily’s Agnes Winarti recently.

Question: Why do you believe your Wayang Wong is sacred? 

Answer: Wayang Wong is performed in our clan temple to complete religious ceremonies or Yadnya. We call it the wali (sacred) dance, because it is not staged for entertainment purposes, although people can watch the performance. We hold a special ceremony before Wayang Wong can be performed outside our own temple, for example, at the Tabanan Arts Festival.

How have you initiated the revitalization of your clan’s Wayang Wong?

I myself have been performing Wayang Wong since I was a fourth-grade student in elementary school. I was the only kid allowed to perform, because I kept crying if the elders forbade me. I started playing a small role as a monkey soldier, then, at the age of 17, I was promoted to play in the key roles of Hanoman, Rama and Rawana. After graduating from senior high school, I joined both Wayang Wong and Wayang Kulit shadow puppet groups. Afterwards, I continued to invite more youngsters, including my nephews and nieces, to join in Wayang Wong.

From 1987 to 1992, our clan’s Wayang Wong troupe entered a quiet period. There wasn’t a single performance during that time because the dancers, who were quite old, were in low spirits and did not want to perform.

Finally, we (the younger generation) begged the elders to change their policy on who could perform in Wayang Wong. Now, little kids can perform after they have undergone a special religious purification ceremony. We have just started this regeneration recently, in the past four years. Now, we welcome kids as young as 10 years old to play both as performers or penabuh (music players).

Interestingly, after the young dancers began their training, the senior dancers started returning to the troupe. Apparently, the spirit showed by the kids inspired our older performers.

In previous years, why was there no regeneration?

The children had only limited interest in performing because Wayang Wong is regarded as tenget (highly charged with supernatural power that could hurt performers unless they are blessed by the gods first). Kids could not even touch the gamelan musical instruments, so they could not participate.

How did you develop the interest of these kids to join in?

We recruit those who can dance and sing, talk with them and convince them to join Wayang Wong training. We continue to support those who are talented; we ask their parents’ permission too. The training is not that long, two or three training sessions and then they are ready to perform. Usually, those who are talented grasp the essence very quickly. We usually place those who are still training in small assisting roles that can use a mix of languages, or have less dialogue interaction with other performers. During training, we allow new performers to use a mix of Balinese, Indonesian and Kawi languages.  For the young monkey warriors, we give them a few simple Kawi words to say during the performance so they only need to memorize a little. Then the kids aren’t over-burdened and frustrated due to the language difficulties. Our first goal is to build their interest in Wayang Wong, make them happy and enjoy performing it.

Honestly, we still don’t have enough youngsters. Our current performances are played by 12-15 people, instead of the ideal 20 dancers. We are still looking for more talent, and we are not exclusively seeking people from inside the clan. We welcome anyone who wishes to join our group, even if they are from outside our village.

How crucial is the ability to use Jawa Kuna or Kawi language in the Wayang Wong dialogue?

Anyone who plays the central roles, such as Rama, Sita and Laksamana, must have full ability in Bahasa Kawi, which is a complex language. The Wayang Wong format requires the use of Jawa Kuna or Kawi. But not all people or spectators understand the language, which is why we have the punakawan (court jester and advisor) characters, such as Sangut, Delem, Merda and Twalen that will interpret the main actors’ Kawi dialogue into Balinese, Indonesian, or even English. This is why the punakawan roles are still played by the more senior performers, who have a better knowledge of vocabulary than children.

How optimistic are you that this breakthrough will help preserve Wayang Wong?

I’m quite confident that this legacy can be preserved. We will keep going with this way of preservation. Welcoming child performers into the Wayang Wong, I believe, has only been done in our village. We received warm applause when these youngsters performed in the 2010 Tabanan Arts Festival. Other villages were still featuring Wayang Wong performers of over 60 years old.

They were amazed to see that their grandchildren’s generation can perform as well. Hopefully other villages will follow our path. Wayang Wong is such a precious legacy dating back to the 18th century. It’s not that we are disrespecting its sacredness, we just want to preserve it. How else can we achieve that, if not by letting the children take part? If we don’t do this, 10 years from now, nobody will be performing this art form anymore.