Bon Odori: Proof of Japanese cultural wealth

Bon Odori: Proof of Japanese cultural wealth

By Tetet Srie WD

JAKARTA (JP): Japan does not only have one of the best
technologies of the automotive industry in the world. Aside from
economic, social, industrial development and modernization in
various sectors, it is also known as a nation of various cultural
traditions.

One of these is known as the Bon Odori Festival, a festivity
to welcome the spirits of the forefathers who at that time
descend to earth. This festivity, which has its roots in the
teachings of Buddha, grew popular from the 8th century to the
13th, during the Heihan and Kamakura periods. The occasion
usually falls in the middle of July or August.

On July 22, about 3,000 people consisting mainly of members of
the Japanese community in Jakarta, celebrated the festival on the
grass tract of the Executive Club of the Jakarta Hilton
International Hotel. It is an attractive legacy of the Japanese
people since this tradition has been celebrated for the 18th time
in Jakarta.

It is believed that the spirits of the Japanese forebears stay
for one week in the homes of their kin to expend blessings and
prosperity among families. If it is a farmer's family, they may
expect a rich harvest which cannot be separated from these
influences.

The same applies when it concerns a merchant family, or that
of an official. The spiritual breakthrough towards the objective,
the religious pinnacle, has placed Buddha as a Most Generous,
Profound Merciful Being, or as an exalted spiritual mover.

Extended holiday

Unsurprisingly, realization and total understanding of the
tradition later turned it into an extended holiday. Offices
close, formal activities come to a stop. District people working
in the capital commute homewards. During the day visits are paid
to their forefathers' graves, or to anyone's last resting place
for that matter.

In the evening the whole population, young and old, male and
female, children and adults danced together. The dance was
performed at the Jakarta Hilton on an open field where a Yagura,
a three-meter high stage, had been built. The stage, in red and
white and decorated with rows of red and white paper lamps,
became the central focus of the dance and the guiding point for
the moving crowd.

The dances, Tanko Bushi, Tokio Ondo, Odoru Pong Pokorin and O
Chang Do were performed to the accompaniment of the vocal and
traditional music strains such as Taiko (large drum), samisen
(string instrument), and koto (type of guitar). The movements of
the dances are quite simple, easy to follow, mainly consisting of
the bending of hands and feet.

To the Japanese people, the opportunity to dance together is a
rare event. The chance to do so only happens once a year. That
must be the reason why all participants danced in earnest around
the monumental stage, even if the movements are restricted to
small circles, hopping with arms linked.

They were all in merry spirits, they relaxed and in between
nibbled on food and sipped drinks. Social ranks and barriers were
relaxed. For tradition's sake, officials and common people were
momentarily equals.

Between the 16th and 18th centuries during the Edo period,
dancers were clad in varied local apparel, and since that time
Bon Odori has been consistently regarded as a religious ritual.

Although, due to developments in time, the festival in Jakarta
could be likened to a religious ritual, the tradition has taken
on a secular overtone.

In large cities of Japan, locally renown groups perform clad
in Yukata, the kimono for summer. This kimono is made of cotton,
cut wide and is one piece from the neck down to the calf. It is
loose with long sleeves.

Since Bon Odori as a secular show is quite a relaxing, light
and independent show, it appears that Japan could process it
further into an art play to form a social bridge to other
nations.