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.