Saving the Balinese ancient art of 'lontar'

Saving the Balinese ancient art of 'lontar'

Novan Iman Santosa, The Jakarta Post, Jakarta/Buleleng, Bali

A great many of Indonesia's indigenous arts have disappeared
because the younger generation lives in the pop culture, and
considers anything indigenous as "out of fashion".

This situation has added credence to the conviction that you
should expose your children at the earliest age possible to the
culture that you want and expect them to grow up loving and
nurturing.

I Gusti Bagus Sudiasta is one person who has proven the truth
behind this belief.

Brought up in a family that had a great appreciation of the
arts, he has dedicated most of his life to preserving lontar
documents, or manuscripts written on palm leaves, a profession
that most people would frown upon because it is both lonely and
financially unrewarding.

Sudiasta, a native of the northern Balinese regency of
Buleleng, is proud to have inherited his ancestors' skill at
lontar reading and inscription, and to be able to share this
expertise with younger Balinese.

Born on Sept. 13, 1952, Sudiasta is the son of I Gusti Ngurah
Suarna, a dedicated activist of traditional arts and literature.

"I inherited my talent and skill mostly from my grandfather, I
Gusti Bagus Sukriwa, a well-known Balinese (Hindu) priest as well
as expert in literature and culture.

"It was my grandfather who gave me the inspiration and
guidance in pursuing my lontar-inscribing skills," he says.

Sudiasta began his artistic pursuits by sketching Balinese
wayang (puppet) characters when he was in elementary school.

He continued to develop his skills while he was in junior high
school and high school. Still, he credits much of his mastery to
his art-loving family and environs.

"My grandfather was a Balinese dalang (puppet master) and I
also learned the art (of puppetry) from him," he says.

Sudiasta's lontar-inscription prowess led him to a position
some 25 years ago at Gedong Kirtya, a museum in Buleleng that
specializes not only in collecting and preserving old lontar
scrolls, but also copying, transcribing and transliterate the
contents.

"I got the job simply because I could read and, most
importantly, inscribe lontar," he recalls. "Mine is a rare skill
and they hired me on the spot."

This proficiency has allowed Sudiasta to earn additional
income from selling lontar scrolls, mainly to foreigners who
appreciate the value of the hand-written arts.

"Scrolling on lontar requires great patience because you
cannot make a mistake when scratching the pengutik or pengerupak
(inscribing tools) on the dried leaves.

"Each scratch must have a purpose and meaning. We cannot
afford to erase any scratched lines, so it takes a lot of
concentration when making lontar," he said.

No preparatory rituals are required when working on lontar
scrolls, and Sudiasta says he just follows his mood. It begins
with him reading the storyline to be inscribed on the lontar.

"Then the drawings and writings just flow. Sometimes I have to
refuse (a job) if I think the story is not right or appropriate.
Sometimes, I am just not in the mood," said Sudiasta.

Now the curator of Gedong Kirtya, Sudiasta is doing everything
he can to reintroduce lontar and traditional Balinese literature
to the Balinese public, especially the young.

His first goal is to spread the knowledge of the ancient
lontar among students.

"Basically, most Balinese students can read the Balinese
alphabet, as it is taught as a compulsory subject. But when it
comes to reading lontar, most students feel afraid and reluctant
because the lontar is considered sacred.

"If we can't get students interested in reading lontar, how
can we expect them to make one?" he asked.

Traditionally, Balinese Hindus regard lontar as holy items
that are usually placed in temples, where only the pedanda
(priest) can read them during religious ceremonies. This
perception has discouraged laymen from studying lontar.

Gedong Kirtya organizes an annual festival called Nyastra
Bali, in which students read lontar-based Balinese literary
pieces as well as compose their own.

"Once they are familiar with lontar reading, they will better
appreciate the art. Only then can we hope that some of the
students will be interested in learning how to inscribe lontar,"
Sudiasta said.

Several high schools in Karangasem and Buleleng have begun to
introduce the art of lontar inscription to their students.

Sudiasta also wants to see lontar become a field of study at
art institutes.

He is proud that all three of his sons from his marriage with
Sang Ni Made Rasmawati, a traditional Balinese dancer, can
inscribe lontar.

His oldest son, I Gusti Bagus Kusuma Mahendra, 25, is an
architect who graduated from Denpasar's Udayana University, and
is well-versed in traditional Balinese dances.

His second son, I Gusti Ngurah Paramarta Giri, 23, a graduate
of Bali Polytechnic, also has a great interest in traditional
dances.

"My youngest son is the best lontar writer of all. He finished
in third place at a recent lontar inscription competition,"
Sudiasta says about I Gusti Bagus Nyoman Purwa Japa, 16, a high
school student.

"My sons' achievements ease my worry about the future of
lontar. They are well aware about preserving their cultural
heritage," he said.

Sudiasta is a perfect model for the adage that cultural
awareness is best implanted in children as early as possible.