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.