Art Temple Art unites multicultural artists<\/p>\n
By Putu Wirata<\/p>\n
TEJAKULA, Buleleng, Bali (JP): Dozens of national and overseas
\nartists gathered at Pura Teja Amerta in a remote village of
\nTejakula, Buleleng, North Bali, taking part in a unique
\nmulticultural festival called Sharing Time l999 Art Temple Art,
\nheld earlier this month.<\/p>\n
For more than a week, distinguished artists from Indonesia,
\nBritain, Germany, the Philippines, Japan, Italy, the United
\nStates and other countries displayed their artistic expressions
\nto pursue spiritual fulfillment.<\/p>\n
Balinese artists performed traditional arts like wayang wong
\n(Balinese puppet theater), wayang kulit (leather puppet) and a
\nlarge variety of Balinese dances and other entertainment which
\nattracted the foreign artists and visitors at the festival.<\/p>\n
An artist from Padepokan Lemah Putih in Surakarta, Central
\nJava, Suprapto Suryodarmo, said the event was a forum to unite
\nartists from different cultural and religious background in a
\nharmonious way.<\/p>\n
Chosen as the event's venue was a pura (temple) originally
\nbuilt for cultural events.<\/p>\n
\"The Tejakula villagers wanted us to purify Pura Teja Amerta
\nas a place of worship,\" said Suprapto, who organized the event.<\/p>\n
For Suprapto and other artists at the festival, the Tejakula
\nvillagers' acceptance was a manifestation of religious and
\ncultural tolerance.<\/p>\n
Pura Teja Amerta has been used for several art and cultural
\nactivities which brought together local and overseas artists who
\nare not all believers of Hinduism.<\/p>\n
During the event, Suprapto performed a spiritual dance called
\nAlang-Alang Kumitir which explored the \"inner act\" movements.<\/p>\n
\"It is a ritual to enrich our souls,\" he said.<\/p>\n
Artists from Makassar (formerly Ujungpandang), South Sulawesi,
\npresented Pakarena, performed by a female dancer.<\/p>\n
The Pakarena dance contains high philosophical values for the
\nseafaring Makassar community.<\/p>\n
The Pakarena dance was accompanied by traditional instruments
\nlike drums, cymbals and bamboo flutes.<\/p>\n
The dance was followed by a special ritual called Apanaung,
\nwhich was dedicated to honor the god of fish.<\/p>\n
A Tejakula dancer, Nyoman Tusna, said, \"It is similar to the
\nmapakelem ritual performed by Balinese fishermen to worship
\nBaruna, the god of the sea.\"<\/p>\n
The Pakarena dance and Apanaung rituals are pre-Islamic arts
\nwhich are still preserved by the Makassarese Islamic society.<\/p>\n
The rituals have similar origins to those performed in Bali,
\nJava and other regions in Indonesia.<\/p>\n
\"Although the Makassarese are mostly Muslims, culture and arts
\ninherited from ancestors and the Hindu period still flourish,\"
\nsaid Suprapto.<\/p>\n
This was an indication of the strong link between the past and
\nthe present. It was also made clear that Indonesians are actually
\ntolerant people.<\/p>\n
Most of the Western artists involved in the event were looking
\nto the philosophical wisdom of the East. The Yoga practice, inner
\nforce and martial arts fascinated foreign artists.<\/p>\n
For artists and professionals like Harada from Japan and Sarah
\nfrom Britain, the event brought new spiritual enlightenment.<\/p>\n
In addition to performing arts and various contemplative
\nactivities, the event also exhibited installation arts by artist
\nFirman Djamil from Makassar and Harada from Japan.<\/p>\n
Firman built a stage based on Lagagilo cosmology adopted by
\nthe Bugis-Makassar community. The Lagagilo is a legendary story
\nof the origin of the Bugis people.<\/p>\n
Firman put together heaps of clay potteries, banana trees,
\nsarongs, plants, stones, sand and other natural items to create
\nhis installation.<\/p>\n
Together with other artists from Makassar, Firman performed a
\nritual dance taken from the Lagagilo, an oral tradition estimated
\nto have existed since the 11th century and 12th century.<\/p>\n
While preparing his installation, Firman was warned by
\nTejakula villagers to be alert because the venue was surrounded
\nby forested areas filled with shady trees believed to be the home
\nof the invisible inhabitants, spirits and demons.<\/p>\n
\"We didn't intend to disturb the village's activities and the
\nsurrounding environment, therefore, we held a ritual to get
\npermission from the village and the 'inhabitants' of the forest,\"
\nsaid Firman.<\/p>\n
Japanese artist Harada constructed a circle made of used
\nboards and wood spiraling up to form a stupa-like structure.<\/p>\n
Concurrently, Harada's circle matched with Firman's
\ninstallation.<\/p>\n
Firman's work reminds art lover of the work of Balinese artist
\nNyoman Erawan, who is famous for blending performing arts and
\nreligious ceremonial elements.<\/p>\n
Through his installation, the smiling Japanese artist wanted
\nto tell a story of environmental damage caused by logging
\nactivities in world's forests.<\/p>\n
The pieces of used boards and wood in his work symbolize an
\nenvironmental nightmare. In Japan and other countries, Harada has
\ndisplayed installation works presenting trigonometric statues, as
\nwell as other forms of installations in coastal areas, on
\nmountainsides and even in offices and public parks.<\/p>\n
In Bali, he had to display his work at a scared temple with a
\nHindu atmosphere. Although he was quite surprised, he admitted he
\nhad a remarkable spiritual journey into another cultural world.<\/p>\n
The venue incorporated Islam and Hindu (represented by
\nFirman's work), Buddhism-Sinto-Zenism (Harada's) and the Balinese
\nartists' Hindu background.<\/p>\n
Religious and cultural differences could become sources of
\nconflict for many people, especially narrow-minded politicians.
\nThe artists, however, regard them as an oasis for harmony as
\nclearly shown during their close collaboration during the Art
\nTemple Art festival.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/art-temple-art-unites-multicultural-artists-1447893297",
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