Groton Bali 2013: 08-16-13 Shadow Puppet Course, Sura’s cremation and Tenganan

Day 14 8.16

In the morning Pak Catra spent time teaching me some shadow puppet techniques. Shadow puppet is called Wayang kulit and the dalang (puppet master) performs the wayang behind the cotton screen illuminated by oil lamp or modern halogen lamp, creating visual effects similar to animation. Dalangs are all highly respected scholars in Bali. Because they need not just techniques of voice change or abilities to improvise, also historical knowledge of ancient texts and fluency of Kawi, the old language from Java. Pak told me a bit about the historical background; the caracters used in the play are all from the Mahabharata. Similar to the Arja dance, it is enhanced with jokes on comtemporary issues. There are different types of characters in the play but dalang is the only person manipulating the puppets, so he must speak different levels of Balinese or Kawi for each character. The amount of knowledge and skill a dalang needs to obtain is incredible, that is also the reason why most dalang are in their 60s or 70s. I was so absorbed and fascinated listening Pak explaining all these things to me, until we were told it’s time to have brunch .

After brunch we set out for Nyoman Sura’s cremation. The cremation was not a big one, so it didn’t require many decorations. Three coconut beds were put in a row. I was accidently standing very close to one bed when no one was there. Then the family carrying the body came, all surrounded me and put the dead person into the bed. I couldn’t get out or get any closer. So I stood there, watched the priest casting blessings, water and rice on her and covering her with cloths. Everyone around me started singing solemnly in Balinese. There were no tears but only blessings. Surrounded by their funeral songs, I fell into a state of melancholy. Then they burned the entire coconut bed; fume rose and filled up the overhead area. Everyone backed off and watched gods taking their loved ones to the sky.

Tenganan village was our next destination. It is a weaving village known for its geringsing double ikat textiles. “This demanding technique is only known in three places, India, Japan and Indonesia. In Indonesia it is only produced in the village of Tenganan.” Due to the enormous amount of time and inherited techniques it requires, double ikat textiles are quite expensive now. Ms. Van Gelder has been collecting textiles over 20 years and has comprehensive knowledge of all genres of textiles. During our walk through Tenganan, she presented me many different styles of Indonesian textiles with detailed explanation of their history and characteristics. Tenganan village is not a place where inhabitants have been able to keep their traditional way of living and weaving anymore as they have more or less given over to tourism. But Ms. Van Gelder’s explanations made this short visit a really meaningful one; I gained a lot of knowledge and became deeply impressed with Indonesian textiles.