'Kremasi Waktu' redefines universal time concepts<\/p>\n
By I Wayan Juniarta<\/p>\n
DENPASAR, Bali (JP): Noted Balinese artist I Nyoman Erawan is
\nupset.<\/p>\n
He is trapped in a daily routine. He starts his day at 6 a.m.
\nAt 7 a.m., his kids rush to school, at 10 a.m., he starts working
\nand meeting with friends or clients.<\/p>\n
\"It is annoying to hear the ticking and ringing of the clock
\nevery morning. We have to adhere to tight schedules, made by
\nourselves,\" said Erawan.<\/p>\n
Men have defined the concept of time based on their
\nperceptions and their urgencies, the artist said. There is no
\ntime left for relaxation, for self-contemplation. \"We fill up our
\ntime with earthly activities to pursue material gains.\"<\/p>\n
In his most recent installation Kremasi Waktu (Time
\nPurification Ritual), performed at an art show held at Agung Rai
\nMuseum of Arts on Dec. 20, Erawan could not even comprehend and
\nclearly define the real meaning of time except that it should be
\npurified and be freed from manmade concepts.<\/p>\n
Time, according to Erawan, is a universal soul, an unlimited
\nsoul.<\/p>\n
Erawan's Kremasi Waktu opened an art exhibition presented by
\nartists from Sanggar Dewata art community.<\/p>\n
In his performance, Erawan exploited a lot of symbols, words
\nand musical sounds.<\/p>\n
Together with noted poet Cok Sawitri, Erawan uttered mantra to
\nprotect human beings from evil spirits.<\/p>\n
He symbolized man's ambition and anger in the form of a
\ngigantic man wearing a scary red mask. Vigorously performed by
\nRina, the monstrous creature cut down bamboo sticks which
\nsupported the seat of Sira, who represents wisdom and purity --
\nthe earth.<\/p>\n
The monster dragged Sira on the ground and kicked him
\nfuriously. They engaged in a severe battle, a symbolic fight
\nbetween good and evil.<\/p>\n
Erawan, clad in a white cloth, appeared as a savior, followed
\nby a procession of women who sang kidung (holy songs). They
\ncarried jugs of holy water and wooden containers on their heads.<\/p>\n
The wooden containers were filled with various offerings and
\nceremonial tools. The procession led by poet Cok Sawitri sang
\nkidung that tell about time. A man carrying a rebab (traditional
\nstring instrument) walked behind the women.<\/p>\n
\"Rebab voices the stillness. The original voice that exists
\nbefore the other,\" explained Erawan.<\/p>\n
The sound of rebab accompanied Erawan's steps to the stage
\nwhere he headed toward a fire. There, he received all offerings
\npresented by the women. Among the offerings were various clocks.<\/p>\n
He threw all the clocks into the fire. Solemnly, he burned all
\nforms of human concepts of time symbolized by clocks.<\/p>\n
One of the most impressive elements of the performance was the
\nharmonious music composed by Yudane.<\/p>\n
The composer widely exploited the sounds of Balinese
\npercussion instruments like gong and kendang. The instruments
\nproduced sounds that were, at the same time, familiar and alien
\nto the ears of the audience.<\/p>\n
Through this performance, Erawan wanted to achieve his dream,
\nhis obsession -- to create art forms as a purification media. Art
\nis seen as a media to regain man's self-identity. He longed to
\npresent an art performance as a religious offering to the Creator
\n-- a concept which was widely adopted by most Balinese artists in
\nthe past.<\/p>\n
Erawan manifests his dreams in most of his artwork, starting
\nfrom Latta Mamhosadhi, Ruwatan Bumi (Earth Purification), Pralaya
\nMatra, Chaos Cosmos I and Chaos Cosmos II.<\/p>\n
\"I prefer to call my creations ritual art and I performed them
\nsincerely and solemnly as if I were performing religious
\nrituals,\" commented Erawan.<\/p>\n
In Kremasi Waktu, he involved villagers from his own
\nneighborhood. They presented this performance as natural as
\npossible, without burdens or pretensions.<\/p>\n
Erawan's second obsession was to minimize or even eliminate
\nthe distance between the performers and their audience, a
\ncharacteristic of traditional Balinese performing arts.<\/p>\n
In this performance, the audience freely violated the
\nconventional regulation of a stage. They mingled with the
\nperformers.<\/p>\n
However, art observer Jean Couteau said Erawan had excessively
\nborrowed Hindu ritualistic elements for his art creation without
\ngiving new meanings.<\/p>",
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