Ninithowong, a Javanese that can tell the future

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.