Ninithowong, a Javanese that can tell the future
Tarko Sudiarno, The Jakarta Post, Yogyakarta
The pretty doll resembling an Ondel-ondel (Jakarta mask dancer) swayed flirtatiously right and left, back and forth.
Suddenly, it began jerking and writhing uncontrollably before fiercely attacking two of the four people holding it.
The wooden doll was the size of an average adolescent, but its movement was as violent as an angry man, savaging anyone who tried to hold it.
Eventually two men managed to restrain the heavily made-up figure and one onlooker asked a question: "Will Akbar Tandjung be freed from detention in the near future?"
The Ninithowong Doll, considered magical by the inhabitants of Panjangrejo village near Yogyakarta, shook its head and body, gesturing that the House Speaker and chairman of the Golkar Party would not be released from custody, where is facing corruption charges.
"Wow, even a spirit knows that Akbar is guilty,'' art worker Hari Budiono, among the crowd watching this Ninithowong performance earlier this month, said.
"It is quite regrettable that some people try to set him free. Doesn't this clearly show that human beings are more stupid than a spirit?"
The Ninithowong performance, a traditional art from Panjangrejo village, Pundong, Bantul, near Yogyakarta, took place on the eve of Javanese New Year (Suro, which falls on March 14) at the residence of artist Djoko Pekik in Sembungan village, Bantul.
Ninithowong traditional art is performed with a supporting cast of 20 helpers.
Four are assigned to hold the doll, one serves as the supernatural master and the rest are singers and gamelan players.
The protagonist is a pretty girl doll constructed from a bamboo framework, coconut shell-head and hair of flower and leaves.
Offerings are laid out, including a bunch of pisang raja (large sweet bananas) Abon-abon (a set of Menginang equipment complete with betel leaves, lime and gambier), a mirror and a fan. The name Ninithowong is derived from nini, meaning a girl, and thowong meaning coconut shell.
The recent performance began with Ninithowong being carried into the site of the performance, accompanied by a song called Yo dho buak anak bajang (Come on, let's throw away the dwarf child).
The doll was paraded around the arena before being stood upright, supported by its four helpers.
As the helpers raised the doll's legs off the ground, the supernatural master of ceremonies approached it, chanting a mantra.
Suddenly, while still being held by the four persons, the doll began moving, seemingly dancing to the rhythm of the gamelan.
Sometimes the doll swung its arms to and fro, while at other times only the body moved, jumping merrily to the rhythm of the drum.
At some points, the doll would refuse to move. Paeran, the supernatural master, used his fan to cool the doll's face, saying it was tired and hot.
A mirror was placed before the doll and it suddenly sparked into life, dancing and jumping again.
During the performance, the spectators were allowed to help hold Ninithowong to find out for themselves whether the doll really could move by itself.
Most spectators said they were convinced the doll had some sort of magical power - but some were more skeptical, suggesting the "helpers" were actually moving Ninithowong.
That night, when two foreigners tried to resist the movement made by Ninithowong, the doll suddenly attacked them. Later, it lay itself down between the two tourists, moving its body angrily.
"This movement indicates that there's someone testing the spirit's power or not believing that there is a spirit entering the doll," said Paeran, while keeping the doll calm.
In a Ninithowong performance, the spectators can pose some questions to the doll. As it cannot speak, the doll will answer with its own movement. If, for example, someone wants to know about when he will get a girl friend, the doll may move to the right or to the left. If you ask him how many children you will have, it will drop itself as many times as the number of your children.
Paeran said back when doctors and hospitals were still rare in the area, Ninithowong was frequently performed in his village. "Many villagers inquired what medicine was right for their illnesses. Ninithowong would show them certain leaves as the cure."
In Panjangrejo village, Pundong, Bantul, Yogyakarta, Ninithowong performance is known to have occurred as far back as 1938. Paeran said that it was created by its ancestors, among others Udisedo, Jumar, Marto and Paerah.
The performance was popular until 1942, when the Japanese occupational forces landed in Indonesia. During this period, Ninithowong could not be performed.
The Ninithowong performance did not return until 1962, but it ceased again when Indonesia was gripped by bloody political turmoil in 1965.
In the 1980s the government began sponsoring performances of folk and traditional arts, and Ninithowong was back.
"In the month of Suro, we have invitations to perform Ninithowong in many places, including the Indonesia in Miniature Park in Jakarta (TMII)," said Paeran.
Javanese cultural activist K.R.T. Suryanto Sastroatmaja said the origin of Ninithowong performance could be traced to ancient times.
Usually, it is performed on the night of a full moon by rural people as a form of entertainment, he said. Ninithowong is also used by farmers for guidance on day-to-day issues, such as identifying pests attacking their crops and asking the doll how to deal with them.