Inner conflict of a princess at Sendang Kasihan

Inner conflict of a princess at Sendang Kasihan

Tarko Sudiarno, The Jakarta Post, Yogyakarta

The moral conflict to make a dilemmatic choice between state
defense, love and a noblewoman's dignity during the Mataram
Kingdom under Panembahan Senopati was portrayed in Hendro
Martono's choreography in Sendang Kasihan, Bantul, Yogyakarta
last week.

An ancient water spring with a clear pool on the western slope
of Mt. Sempu, Yogyakarta, Sendang Kasihan was turned into a stage
with decorative lights around the pool. Five female dancers, one
with her hair down to the waist, were carrying burning incense in
the yard near the site's altar, where royal offerings were made.

Under an old Soka tree, they expressed prayers in gentle and
artistic movements, as a gesture of sincerity and resignation in
the ritual pursuit of enlightenment. The pretty, long-haired girl
was Pembayun, the royal princess of Mataram.

Panembahan Senopati, Mataram's founder, was known as a monarch
with supernatural powers and great authority who held his command
in the area of Kotagede, Yogyakarta. Various regions were
conquered and have become subordinate territories, except
Mangiran, under Ki Ageng Mangir Wonoboyo, who refused to submit.

The king found it hard to defeat Ki Ageng Mangir because this
regional chief possessed a magical spear called Kyai Baru.
Therefore, royal advisers suggested the subtle approach by
sending Pembayun to Mangiran to entice the chief into submission.
To this end, she was told to disguise herself as a roving dancer
and singer.

Though reluctant, she departed to carry out the assignment for
the sake of her father's ambition. With this ambivalence, on her
way to Mangiran, the princess and her guards held a ritual
ceremony to supplicate for divine guidance and power to perform
the mission. In Sendang Kasihan, she became adept in the art of
topo kungkum (chest-deep immersion meditation). Finally, she
gained the moral strength to carry out the task and overcome her
inner conflicts.

It is this ritual procession in Sendang Kasihan that was
portrayed so elegantly by Hendro Martono, a graduate of the
Indonesian Art Institute (ISI) in Yogyakarta, and the Indonesian
Art School (STSI) in Surakarta. He reconstructed the events at
the end of the 15th century in choreographic format in what is
known to be the original site.

No authoritative literature is available on this procession
but legend has it that the pool was where Pembayun meditated
before acting as a ledhek, or dancer, so that to this today many
people still seek blessings there. According to Hendro, his
Asmaradana Sendang Kasihan dance was based on the spatial and
physical forms of the scene, combined with the legendary tales
and the local tayub folk dance.

"So, the emotional involvement of the audience is very
important, which can trigger a different sensation and entail a
spiritual experience," he said.

The outdoor performance started with an offering procession in
the altar yard, about ten meters from the pool. While the incense
was burning, Pembayun meditated in her quest for self-
empowerment. Four dancers, dressed like the princess, circled her
in graceful movements, representing inseparable inner siblings in
the concept of Javanese belief.

After her union with the four manifestations of her self,
Pembayun meditated chest deep in the clear and cold water of
Sendang Kasihan, during which she had to prevail over a tug of
war involving various interests and anxieties, with the help of
voices of essential truth whispered by the other four inner
quintuplets.

Mentally and spiritually prepared, Pembayun and her followers
were set to continue the journey to Mangiran as a dance troupe.
Before leaving, they had a rehearsal near Sendang Kasihan to
display their skills.

The group eventually was able to dance for Ki Ageng Mangir.
The beauty, grace and teasing charm of this ledhek attracted the
Mangiran leader. Pembayun, too, could not help falling in love
with her father's enemy. The princess again faced the difficult
choice between her state defense mission and true love.

And this deep affection was believed as the metaphysical
effect of the Sendang Kasihan water, which could also eliminate
hatred and enmity. Hendro illustrated this dilemma in the
choreography.

Meanwhile, veteran Indonesian dancer, Miroto, said Hendro
Martono was searching for the proper form in his work, without a
clear definition yet whether it belonged to traditional, modern
or post-modern art. He did not totally maximize the natural stage
either. "If the natural background had been his choice, he should
not have built a stage near the pool, which only spoiled the
atmosphere," he added.

Beghawan Ciptoning, ISI-Yogyakarta's dance instructor, shared
a similar view by pointing out that the use of the projector and
wide screen was unnecessary because such modern embellishments
would taint Sendang Kasihan's magical environment. Apart from the
criticism, however, the two-day show of Asmaradana was packed by
visitors, apparently due to their curiosity about the different
sensations and spiritual experiences promised by Hendro.