'Ngelawang', a traveling art in Bali

'Ngelawang', a traveling art in Bali

Kadek Suartaya, Contributor/Denpasar

Balinese artists used to observe closely the tradition of ngelawang -- traveling from one place to another to present performance art.

They usually performed on the important religious Hindu Balinese holidays of Galungan and Kuningan, which fell on Aug. 10 and Aug. 21 this year.

But the unique tradition has been absent from the celebration of Galungan and Kuningan for several decades. Where do the groups of artistes travel now?

In the 1970s, many artistes still clung to the ngelawang tradition. They might surprise an entire family by appearing at a house to present a performance such as Barong Kedingkling, the narrative of which was taken from the Ramayana. As they suddenly appeared at the front door, family members would give them a warm welcome.

The show would start with a song by artists, for example comedians Malen and Merdah, and was then followed by a dance by other characters, Subali and Sugriwa, in the merajan yard (the family's place of worship). The dance lasted for a minute or two. And that would be all. Even though the show was quite brief, the family would happily give them a little money.

Meanwhile in front of the community meeting place, people could see a Barong Bangkal performance, named after the character of a lion with the head of a male pig. The artists would dance, accompanied by a babarongan gamelan orchestra, and would chase anyone who dared to challenge the Barong Bangkal. The "hunt" would become thrilling, with people clapping their hands, laughing and yelling.

Ngelawang performance art is indeed exotic. This is a presentation of an art show that is serious, but is performed in a relaxed manner. The spectators do not have to sit still. Instead, they can squat, stand or lean and brush against each other while enjoying the atmosphere in the open air. There is no distance between the artists and the viewers. All become one in a communal nuance.

The ngelawang tradition can sometimes still be found in mountain villages. The traveling performance art is not restricted by place, space or time. A mask dance, for example, could be shown under a big, shady tree, a Barong dance may take place at a riverside, while Arja dance drama could be performed on the street or even in a crowded market. It could take place in the afternoon or at night, or even in the morning.

The ngelawang show is held communally. The dancers put on their makeup among crowds at the proposed performance location while several members of the group walk around to collect money from the audience. After the money is collected, the show will start. Spectators watch the Barong dance intently, admire the show and enjoy it. If the Arja opera is performed, the audience will listen to the songs, lyrics and the tunes. The audience has a high appreciation of the performing arts.

The tradition of ngelawang is observed both collectively by an art group and also individually by the artistes, such as in the performance of the Topeng Pajegan mask dance, where the artiste plays a number of characters in the show.

The magical aura in the ritual of the traveling performance art that is put on during the celebrations of Galungan and Kuningan is believed to give people a feeling of security and protection.

Within the context of art, it is a means of preservation and a natural development of aesthetic values. The interaction in the ngelawang tradition between artists and spectators emanates from the passion of the soul to communicate, and to create harmony and peace in the community.

It seems that changing values have torn at a mosaic and a cultural energy that has aspects of spirituality, art and entertainment. The ngelawang tradition has become more marginalized and difficult to find during the celebration of Galungan and Kuningan.

Today, groups of Balinese artistes prefer to travel from one hotel to another. Paid performances put on for tourists tend to produce a spiritual dryness in the artists. They feel they are exploited, not only like dairy cows, but are also treated like cattle, as they are often transported in open trucks to the performance location.

Cultural transformation has a multidimensional consequence in many aspects of life. In the past, the agrarian, traditional community and strong religious feelings were conducive to the development of the ngelawang tradition in the past. Now, in the midst of dynamic change and confrontation of values, rationality, pragmatism and secularism have become more popular. Within the context of the tourism industry in Bali, for example, commercialism and permissiveness have grown.

The substance, essence and real meaning of the ngelawang tradition has been lost. People now stand hesitantly at the crossroads of the era. Maybe, because they are aware of this, the organizers of the Bali Arts Festival have, in the last three years, featured ngelawang performances. They were held in both the morning and afternoon around Denpasar Arts Center.

On the afternoon of Sunday, Aug. 15, people from Tabanan regency tried to revive a reactualization and also the contextualization of the ritual spirit of the ngelawang tradition through a ngelawang contest. The participants traveled around the busy city of Denpasar to present a Barong perrformance.

Can the ngelawang tradition compete with the power of money?