'Kremasi Waktu' redefines universal time concepts

'Kremasi Waktu' redefines universal time concepts

By I Wayan Juniarta

DENPASAR, Bali (JP): Noted Balinese artist I Nyoman Erawan is
upset.

He is trapped in a daily routine. He starts his day at 6 a.m.
At 7 a.m., his kids rush to school, at 10 a.m., he starts working
and meeting with friends or clients.

"It is annoying to hear the ticking and ringing of the clock
every morning. We have to adhere to tight schedules, made by
ourselves," said Erawan.

Men have defined the concept of time based on their
perceptions and their urgencies, the artist said. There is no
time left for relaxation, for self-contemplation. "We fill up our
time with earthly activities to pursue material gains."

In his most recent installation Kremasi Waktu (Time
Purification Ritual), performed at an art show held at Agung Rai
Museum of Arts on Dec. 20, Erawan could not even comprehend and
clearly define the real meaning of time except that it should be
purified and be freed from manmade concepts.

Time, according to Erawan, is a universal soul, an unlimited
soul.

Erawan's Kremasi Waktu opened an art exhibition presented by
artists from Sanggar Dewata art community.

In his performance, Erawan exploited a lot of symbols, words
and musical sounds.

Together with noted poet Cok Sawitri, Erawan uttered mantra to
protect human beings from evil spirits.

He symbolized man's ambition and anger in the form of a
gigantic man wearing a scary red mask. Vigorously performed by
Rina, the monstrous creature cut down bamboo sticks which
supported the seat of Sira, who represents wisdom and purity --
the earth.

The monster dragged Sira on the ground and kicked him
furiously. They engaged in a severe battle, a symbolic fight
between good and evil.

Erawan, clad in a white cloth, appeared as a savior, followed
by a procession of women who sang kidung (holy songs). They
carried jugs of holy water and wooden containers on their heads.

The wooden containers were filled with various offerings and
ceremonial tools. The procession led by poet Cok Sawitri sang
kidung that tell about time. A man carrying a rebab (traditional
string instrument) walked behind the women.

"Rebab voices the stillness. The original voice that exists
before the other," explained Erawan.

The sound of rebab accompanied Erawan's steps to the stage
where he headed toward a fire. There, he received all offerings
presented by the women. Among the offerings were various clocks.

He threw all the clocks into the fire. Solemnly, he burned all
forms of human concepts of time symbolized by clocks.

One of the most impressive elements of the performance was the
harmonious music composed by Yudane.

The composer widely exploited the sounds of Balinese
percussion instruments like gong and kendang. The instruments
produced sounds that were, at the same time, familiar and alien
to the ears of the audience.

Through this performance, Erawan wanted to achieve his dream,
his obsession -- to create art forms as a purification media. Art
is seen as a media to regain man's self-identity. He longed to
present an art performance as a religious offering to the Creator
-- a concept which was widely adopted by most Balinese artists in
the past.

Erawan manifests his dreams in most of his artwork, starting
from Latta Mamhosadhi, Ruwatan Bumi (Earth Purification), Pralaya
Matra, Chaos Cosmos I and Chaos Cosmos II.

"I prefer to call my creations ritual art and I performed them
sincerely and solemnly as if I were performing religious
rituals," commented Erawan.

In Kremasi Waktu, he involved villagers from his own
neighborhood. They presented this performance as natural as
possible, without burdens or pretensions.

Erawan's second obsession was to minimize or even eliminate
the distance between the performers and their audience, a
characteristic of traditional Balinese performing arts.

In this performance, the audience freely violated the
conventional regulation of a stage. They mingled with the
performers.

However, art observer Jean Couteau said Erawan had excessively
borrowed Hindu ritualistic elements for his art creation without
giving new meanings.