NADI - Trance

8/10/2019 NADI - Trance

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Source : NADI Trance in the Balinese Art

NADI, TRANCE IN THE BALINESE ART


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ART PERFORMANCE: RELIGION AND ART

Its Sunday in the week of Wuku Medangsia according

to the traditional Balinese calendar. The place:the inner courtyard of Petilan temple in

Pangrebongan, Kesiman, East Denpasar. Many people

are at prayer, both male and female sat on the

ground. Soon they turn their attention towards the

front row, in front of the two main buildings.

There are the pamangkus-temple priests over there,

some of them wearing the special costumes of Rangdawith the Rangda masks in front. Meanwhile, there

are rows of black and white Barongs, each carried

by two men.

The sound of a gamelan orchestra can be heard in

the north west corner of the temple. The music is

getting faster and louder. Incense smoke is

spiralling high. Suddenly loud yells are heard hereand there. The pamangkus wearing Rangda costumes

stand up and announce loudly a few words while


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warding off a white cloth adorned with rerajahan-

symbols and characters. The Barongs begin jumping

up and down as they become possessed by spirits.

Dozens of people likewise enter trance, most of

them men who are then restrained by their friends.

This is the beginning of kerauhan(being entered by a spirit) and nadi.Next, a Rangdamask is put on thehead of each Pamangku who hasbeen entered by a spirit, TheRangdas soon emerge from the

Kori Agung

the great gate of thetemple- accompanied by Barongsand others having been entered byspirits as they stab their nakedbodies (ngerebong or ngurek) withthe traditional wavy double-bladeddaggers known locally as the keris.They all start walking around thefront and back of the wantilan in the

western part of the temple, circling

it three times. This procession isheld every 210 days at this templeand is accompanied by thecacophonous traditional gongorchestra. This routine procession

describes one of the magic nadiprocesses that we are able toobserve directly. It is truly amazingthat none of these people are hurt


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despite their repeated attempts topierce their bodies. Some stab theirchests, necks, and even their eyes.It is indeed strange that not one ofthe keris daggers causes anydamage, even though the kerisesflex as the stabbing ensues.

The performance is a

combination of religion and

art because prayer is part of

religious life, while the

music of the gamelan

orchestra, as well as the

Rangda and Barong who

occasionally dance, are forms

of art. Since the arts and

religion are inseparable in

Bali, the Balinese divide

their arts into three

categories: Wali, Bebali and

Balih-balihan. Waliis an art

performance that belongs topart of a ceremony; Bebaliis

an art performance to

accompany a ritual ceremony;

and finally Balih-balihan is

an art performance for

entertainment purposes only.

The aforementioned kerauhan

and nadi often occur in thefirst two categories, the

waliand bebalidances.

For Hindu people in Bali, the

arts cannot be separated from

religion. At every large-

scale ceremony at Besakih

temple (the mother temple),

for example, art performances

are de rigeur. This is even

the case at larger ceremonies

at village and family

temples. In short, for

Balinese Hindus, the arts are

a primary need.

There is much mystery

surrounding the Balinese artsbecause they are considered

the realization of Balinese

people in the eyes of God

Almighty and also their

deified ancestors who

inhabit the realm of the

Gods. Balinese arts are

actually derived from sacredritual cererqonies, and

therefore every Balinese

artist, from no matter what


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branch of the arts, is always

related to his or her sacred

surroundings as the inherited

tradition in the performing

arts. This can be seen prior

to an art performance, when

an artist will pray to the

gods for permission to

perform. Furthermore, they

will always find an

auspicious day on which to

begin an art activity.

There are many kinds of

mantras used for this purpose

in the arts, one of them is :

Om hidepku Sanghyang

murttining lewih,

masarirang aku, aku

Sanghyang Semara Murtti,

sarwa jagat asih ring

hunyan-hunyanku, Om sidhi

mandi mantramku, Ih I bhuta

Kala Graha, I Bhuta

Kapiragan, Om Sang Kala

Edan, iki bukti sajinira,

yan sira wus amukti,

rowangen hulun manglilalila

mangigel. Om siddhi mandi

mantramku.

(Om, my wish is for

Sanghyang Murttining Lewih,

to be transformed into my

body. I am the Sanghyang

Semara Murtti, all in the

world love my

entertainment. Om, may my

charms successful. Ih,

Bhuta Kala Graha, I Bhuta

Kapiragan, Om Sang Kala

Edan, please partake of my

offerings, and when you

have partaken of them

please accompany me so that

I might dance joyfully. Om,

may my charms successful).

This is an example of a

prayer spoken by a dancer to

himself before performing on

stage. This means that a

dancer prays to God Almighty

for power, and even for a

spirit to enter and to

transmogrify him during a

performance. The prayers are

accompanied by offerings, the

details of which are not

explained here.

In saying a prayer, a dancer

surrenders himself to the God

Almighty. The dancer becomes

a manifestation of the


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Almighty, and as such gives

joy, entertains, and makes a

ceremony a success. The

artist surrenders himself to

the Creator along with his

artistic knowledge, because

art is itself an offering and

a service, or ngayah, to the

Creator only.

THE RIGHTS OF THE LIVINGThe Balinese Hindus do not

only respect human rights but

also the rights of the

living. This is because human

beings must respect the

rights of others, including

all of Gods creatures such

as plants and animals.

Tumpek Kandang, for example,

is a day of respect to

animals as the Gods

creations, and Tumpek Bubuh

is in respect of plants.

Therefore, before

slaughtering animals

especially those being used

for ritual ceremonies, a

mantra shall first of all be

whispered to them. This is

done by priests or the master

of ceremonies, so that the

spirits of the slaughtered

animals can go to a better

place and be reincarnated

into a higher being, human

for example. Meanwhile for

plants there are certain days

on which Balinese people are

not allowed to harvest them.

For example, it is taboo to

chop bamboo on a Sunday. In

this way Balinese culture and

tradition always refers to

Hindu teachings.

One day, an international

tourist remarked to the

Head of Bali Tourism

Department: I feel that

there is a big difference

between trees growing in

Bali compared to those

outside Bali, and even

more so overseas. The

trees here are really

alive as if they had

souls. They even sway

differently. The Head of

Bali Tourism Department

explained as follows, I

believe that it happens

due to the fact that every210 days we Balinese

always pray in Tumpek

Bubuh, paying respect to


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plants as Gods

creations. In the arts,

Balinese people also have

important days on which

they pay respect to their

arts. Tumpek Wayang and

Tumpek Krulut are the

important most days on

which to pay respect to

arts. Therefore, the arts

in Bali always grow well.

On Tumpek Krulut, Hindu

people present offerings

to God Almighty in for thecreation of sound. Then,

the gamelan orchestras in

each Banjar are given a

ceremony. See this

sentences taken from

Prakempa a lontar on

gamelan:Mwang yaning angupakara

salwiring tatabuhan rikalawuku Krulut, ring dina

Saniscara Kliwon,

bebantennya, kang inarep

sesayut pangambeyan, pras,

panyeneng, sodan, daksina,

blabaran, ketipat gong,

kelanan, canang burat wangi,

lenga wangi, pasudan,

rantasan, kumkuman sahapanyamblehan. Mwah

pangulapan, panegteg,

prayascita sakeng sang wiku

(And if (we) present

offerings for the

sounding sets (gamelan),

in the wuku of Krulut,

in Saturday Kliwon, the

offerings cover, the

main things are sesayut

pangambeyan... etc)

The Balinese calendar is a

little bit complicated for

foreigners. The Balinese

has at least two calender

systems. The first one isa calender which begins

from the first Kasa month,

then Karo=2, Katiga=3,

Kapat=4, Kalima=5,

Kanem=6, Kapitu=7,

Kawulu=8, Kasanga=9,

Kadasa=10, jyesta=11 and

Sadha = the 12th. The

First months usually falls

in July. This calender is

combined with the lunar

system from which they

have Purnamafull moon and

Tilemthe new moon day.

The number of the year is

taken from the Indian

Hindus Isaka year. Forexample the new year for

1921 Isaka year fell in

March 18, of 1999. And the


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New Year of 1922 Isaka

falls in April 4, of 2000.

The Isaka New year falls

the day after the Nyepi

Silence Day, while the

Nyepi day falls the day

after the new moon of the

concerned month. The

Balinese also have a wuku

calender. Ceremonies,

beside being held

according to the above

lunar system, is also

calculated through thiswuku system. One wuku is

one week or seven days.

There are 30 wukus or

weeks along one year

wuku calender from the

first wuku: Sinta up to

the 30th wuku: Watugunung,

that means 210 days. All

at once they also have

wewaran from the one day

week to the ten day week.

Discussing the above topic

on Tumpek, again it could

be explained that Tumpek

is Saturday Kliwon. Kliwon

is the fifth day of the

five day-week. TumpekLandep falls in the wuku

or the week - of Landep -

the second week of the 30

weeks -Tumpek Bubuh falls

in the wuku of Wariga -

the 7th week, Tumpek

Kuningan in the wuku of

Kuningan - the 12th week,

Tumpek Krulut in wuku

Krulut -17th week, Tumpek

Kandang in wuku Uye - the

22th and Tumpek Wayang

falls in the wuku of

Wayang - the 27th week.

On Tumpek Wayang day -

Saturday Kliwon of Wayang

week, which occurs every

210 days, wayang puppets,

and their gamelan

orchestra accompaniment

such as genders, as well

as masks and other

accoutrements, are blessed

to thank the God for his

creation, On Tumpek Wayangmany traditional shadow

puppeteers come to Manik

Dalang temple in Pemaron,

Singaraja, North Bali.

They ask for blessings and

guidance from Bhatara

Manik Dalang- the god

enshrined at the temple

who authorizes thePawayangan - the puppet

shadow art They ask for

blessings by performing


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their traditional shadow

plays in - turns during a

period of one week from

Sunday, Monday to Saturday

Kliwon of the traditional

Balinese Calendar along

the so called wuku wayang

week. Junior puppeteers in

particular believe that in

this temple they will get

taksu and nadi.

To find out about which

days are auspicious ones,

please look at the

traditional Balinese

Calendar for the year 1999

which you will always find

in any Balinese house.

Throughout the month of

June 1999 good days are on

3,14,16,20, and 21 and for

July, the6,7,9,15,16,18,20,25 & 29.

These days are considered

good days to start

learning dancing.

Meanwhile, July 19 is a

good day for making Barong

masks. The local people

call these auspicious days

Dewasa Ayu,

SACRED BOOKS OF ARTS

Besides auspicious days,

Balinese people also have

sacred books to guide them

in their professions. Tobe a farmer, for example,

the sacred book needed to

learn ones trade is

called Dharma Pamaculan.

To become a priest it is

the Weda Parikrama and

Kusuma Dewa, etc. To

become an artist and an

architect, and to know

where to erect a building,

what type of building and

how big to make the

building, you need to read

the Kosala-Kosali, Asta

Bumi. For gamelan

orchestra there are

Prakempa and Aji Gurnitato be a puppeteer, you

need to have a lot of

taksu, and to study the

sacred book called Dharma

Pawayangan. These sacred

books are written on palm

leaf manuscripts known

locally as lontar. In the

Dharma Pawayangan, forexample, there is guidance

for puppeteers, telling

them how to behave in


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their daily lives - when

leaving for a puppet

performance, for example,

they should meditate to

purify their minds. Then,

they must test their

breath by stopping one of

their nostrils to find out

from which nostril breath

is being taken in. If

based on this test the

right nostril proves to be

taking in more air than

the left, then thepuppeteer shall start to

step to the location of

the performance from his

house by using his right

leg first.

WHAT IS NADI?

What, then, are nadi and

kerauhan? And whats the

relationship between

kerauhan (entered by

spirits) and art or art

performance? Lets study

the following processes of

nadi through someexamples. But, first we

should also knows

literally that nadi is a

Balinese word meaning to

become, while kerauhan is

another verb that means to

be entered (by a spirit).

Nadi starts with the

spirit entering. However,

nadi can also be

associated with the level

of an artists mastery. In

the past, someone who

wanted to learn dancing

would begin by choosing a

good day to start learning

dancing according to theBalinese Calendar, as well

of course as the right

dancing teacher for him

that matched his body and

interest. This was decided

by the student and the

dancing teacher. When he

or she could dance well, a

self cleansing (mawinten)

process would be performed

so that the dancer could

surrender his or her holy

being both physically and

mentally to God Almighty.

At this juncture, a dancer

would always pray to God

so that he/she couldbecome a good dancer.

Balinese people called

this process the search


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wearing costumes - are

guided in front of certain

temple shrines (palinggih)

with offerings accompanied

with pasepan or incense

burning. The Sanghyang

Dedari song is then sung

by people following on

behind the dancers. When

the dancers start to move

or cry and then dance

after the gelungan or

crown has been put on,

this marks the beginningof being entered by the

holy spirits of Dedari

angels. This stage shows

that they are already nadi

and have become

Sanghyangs. According to

the dancers, when they

dance and move their

bodies so beautifully,

they are already

unconscious. Their dancing

is really as good as an

angels, even though the

young virgins are not yet

accomplished dancers.


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Sanghyang dance then

became the Cak or monkey

dance that is currently

often presented to

tourists in many parts of

Bali. This dance was

invented by Limbak, the

central dancer in the very

first Cak in Bali. He said

that the Sanghyang dance

used was derived from that

used at Petulu temple in

Bedulu village, and was

developed into the Cak

dance entertainment by an

expatriate artist who


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later settled in Ubud.


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Source : NADITrance in the Balinese Art

VARIOUS EXAMPLE OF

NADI IN THE ARTS

The process of

sacralizing a thing iscalled masupati, for

example a keris, a

pratima, sesikepan or

a talisman. In this

process magical

characters or symbols

play important roles.


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The characters and

symbols are locally

known as rerajahan.

The rerajahan is a

kind of calligraphy.

Every sacred thing is

provided with such

characters and

symbols. If you enter

a Balinese house, you

will find a white

cloth about the sizeof a handkerchief and

covered in magic

Balinese characters

and symbols (ulap-

ulap), is placed above

the main entrance. The

function of the ulap-

ulap is to ensure the

safety of all living

within the house.

Similar characters and

symbols are also used

for the kajang (cloth

used to cover a

corpse). And forRangdas cloth, this

cloth is believed to

have magic power and

to be able to bring

fortune or in contrary

misfortune. Its hard

to imagine, but if

somebody is touched by

the cloth as Rangda

dances, he becomes

powerless as if he has

been hit by a black

magic spell. The

rerajahan can also be

used to protect a

house or to protect

somebody if used as a

belt talisman. Theprotective agent

(tumbal) for a house

shall be designed with

ocean and powerful

symbols. So, when a

thief tries to steal

anything from the

house, he will feel as

though he is at sea,

and will remain as

such until he is

caught red-handed.

NADI BELT

A nadi belt hasmystical properties

and consists of such

rare items as a

tigers tusk, a boars

tusk, a lock of human

hair, etc. These


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things are often nadi,

so that anybody using

the things bearing

mystical properties

can transform into

other beings according

to the belts

characteristics, In

the 1960s a public

service officer in

Denpasar went home

together with hisfriends after watching

a movie in Denpasar.

His house was in

Busung Yeh, so they

had to go through

Badung graveyard - the

biggest graveyard in

Bali - to get home.

But at that time such

a journey was scary,

not like nowadays.

The unmarried officer

stopped for a while in

the middle of the

graveyard, as he andhis friend were

walking to the west

and chatting. He took

the belt and put it

on. He felt that there

was something strange,

but he kept insisting

on putting it on.

Finally he shouted to

his friends who had

left him far behind:

Hey, wait for me. I

found a belt, He was

so surprised to see

his friends running

after he shouted. He

then was really scared

and running as fast ashe could to catch his

friends. He noticed

that his friends were

running faster and

faster, and then he

realized this might be

because of the belt

that he was wearing.

Then he stopped, took

it off and threw the

belt away as far as he

could. He continued

running towards his

friends who had

gathered in thevillage hall. Then,

his friends told him

that he was shouting

loudly like a goat:

mbeeeeek, mbeeeeee,

eeeeeek eeeeeekkk.


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Later, he realized

that he had been

transformed into a

goat. Thats why his

friends ran away from

him. In fact the belt

had already been nadi,

and had been thrown

away by black magic

practitioner who was

ngereh to practice

the power to becomeleak black magic

figure. Many such

stories still

circulate.

In the Calonarang

performance, there is

something very specialknown as inviting a

leak. A Rangda dancer

from Bangli who often

stars as Rangda in

Calonarang stories,

says that inviting

leak is a very

frightening moment foran audience. This part

of the show is

actually rarely

performed nowadays

particularly in

cities, but before in

almost every

Calonarang

performance, leaks

will be invited, both

in villages as well as

in cities, When Rangda

invites leak, you will

see fire balls flying

around, especially

above trees. Audiences

become very frightened

during theperformance. Moreover,

when they are on their

way home, they tend to

walk in groups, and

ladies will always be

accompanied by

gentlemen. Dancers who

invite leak are often

unconscious and are as

if possessed.

There are countless

examples of nadi. In

conclusion, the


performance and nadi(or being entered by

spirits) is a

reciprocal one. A

dancer influenced by,

or even entered by a

spirit, means that the


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dancing has taksu and

has been well done or

nadi. Anybody watching

the dancing will be

amazed by what he or

she sees. Besides the

person being entered

by a spirit, he also

proceeds to dance

exceedingly well. A

professional dancer

cannot begin toimitate the movements

of one thus possessed.

An example is the

Sanghyang Dedari

dancers who move their

bodies in such a

beautiful way after

being entered by

spirits. In a normally

cognate state, there

is no way they will be

able to, or even want

to dance like this.

NADI IN OTHER KINDS OFART

Of course this is not

to say that other arts

dont have any

relationship with the

performing arts. Take

chant, for example, or

kidung kakawin, a

special form of song

used in many parts of

Bali to invite the

Bhatara to descend.

Also Kekawin Wahirat,

a Kalengengan type

chanting is heard in

certain villages in

North Bali, is a very

effective way tonedunang or to invite

the Ida Bhatara to

descend from heaven On

hearing the

specifically

melancholic strain

sung by a pamangku,

sutri or other

prakangges, the

tapakan Ida Bhatara

will be entered by

spirits very quickly

(kerauhan or

kalinggihan). The

atmosphere it createsis highly emotive,

leading people to

become dizzy and to

surrender themselves

completely to God.


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Another story tells

how Ida Bhatara to

descend- thus to enter

someone called the

tapakan often asks

for certain melody of

gamelan such as the

special geganjuran.

When this music is

heard coming from a

temple -anybody knows

that somebody mostcertainly become

possessed. The Ida

Bhatara will not be

satisfied, though,

until this certain

kind of music is

played. And sometime

the Bhatara will ask

at times for the

papendetan music or

him or her to dance.

In other places such

as in Tenganan,

Karangasem regency,

East Bali, a certain


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kind of music is de

rigeur, a kind that

again has a

melancholic air, and

which is the

accompaniment to

Mageret Pandan, a

ceremony performed

during a certain month

in the Bali Aga

village.

In painting, there are

people who, only when

they are entered by

spirits can they

paint. Otherwise there

are those who begin to

paint, and then enter

trance. This isunusual, but it can

happen. However in the

larger temples most

anybody can be entered

by a spirit, and the

spirits may ask for a

parba or painting with

a certain theme, to beput in a certain place

within the temple,

such as in the Piasan

hall, the Murdha hall,

or some other such

place. Otherwise the

Ida Bhatara spirits

might enter somebody

to ask for a certain

palawat or statue.

After being cleansed

and a pasupati

ceremony having been

performed, the statues

are put into position,

Some statues can even

bring fortune rain for

example. At thebeginning of this

century there was long

dry season in a

notoriously arid area,

where the local

community asked for

rain in a certain

temple, just as their

ancestors would. A

statue was put into

the seawater nearby,

and not long

afterwards there were

clouds to be seen in

the sky, followed bydrizzle, and finally

heavy rain. Most

amazing is the way the

water vapors were

derived from the

slogging statue. It


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was strange indeed and

defies logic, but it

happened. This means

that the statue

brought fortune and

had already been nadi.

A similar happening

was in Jembrana, at

the Bali Arts Festival

1999, when a group of

Wayang Wong from

Jembrana said thattheir tualen (servant)

mask in the shows

brought rain whenever

they are soaked in

water, Guess what kind

of weather they had

that day at the

festival. Thus is the


nadi and being entered

by spirits in painting

and statue making.

THE SACRALIZATION

PROCESS LEADING TO

TAKSUAND NADl

The art performancesthat are parts of

ritual ceremonies are

often called Wali

dancing (wali meaning

offering or ceremony)

because the dances are

always performed in a

ritual ceremony and

they are considered as

sacred. Amongst the

dances classified as

wali are Rejang,

Sanghyang, Pendet,

Baris Gede, Sidha


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Karya mask dance, and

Wayang Lemah.

These performances are

considered sacred,including all of the

equipments used to

perform them, these

being also treated as

sacred things. As such

they need to go

through a series of

complicated ritual

ceremonies. These are

called masupati, the

aim of which is to

give spirit or magical

power to a thing so

that it has taksu.

Certain of thesesacred things will be

treated very carefully

indeed - even deified.

To recap, then,

masupati is a

sacralization process

for any sacred thing -including art objects,

in order to add taksu

to the object itself.

For example the

gelungan (crown) used

by a dancer shall be

pasupati-ed so that

the dancer can attract

a bigger and more

appreciative audience.

Among the things that

can be classed as

sacred, there are

keris daggers and

other weapons, for

which a pasupati

ceremony is always

performed every Tumpek

Landep day - Saturday

Kliwon in Landep week

according to the

Balinese calendar (or

once every 210 days).

Every respected family

in Bali has its ownsacred keris called

pajenengan, as well as

a lingga the symbol

of the ancestral gods

Bhataras such as

pratima andpralingga,

mask, or dancers

crown, and a belt thatcan protect the user

from being hurt, or a

talisman to protect a

person from pangleakan

(black magic) etc. The

reason for using these


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things is to make a

person powerful and

invulnerable to magic.

In the past masupati

wasperformed based on

a spiritual need and a

request made by a

person who wanted to

make a thing sacred.

There are specific

mantra that must be

spoken at a Pasupaticeremony by the leader

of the ceremony-

namely a priest or a

certain authorized

figure. These charm

is also considered

sacred and are not

allowed to be said by

any body in any place.

Pasupati is actually

derived from one of

the names of Shiva.

Pasupati is also a

powerful arrow given

to Arjuna by Shiva in

the Arjuna Wiwaha

story By saying the

pasupati prayer or by

conducting the

masupati ceremony, it

is expected that thesecan bring fortune.

Om Pasupati Bajra

Rudrayam, Agni raksasa

rupayam Purwa muka

desayam, Hyang Iswara

Dewayam, Sarwa satru

winasanam is anextract of a pasupati


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verse, and there are

still other Pasupati

charm varieties. The

charm enunciates one

by one the 9 weapons,

9 Gods, 9 colours from

the 9 wind directions.

In the East there is

the Bajra, white, with

Iswara; in the South

East is Dupa, pink

with Mahaeswara; inthe South is red, Gada

with Brahma; in the

South West, orange,

Mosala with Rudra; in

the West Mahadewa

holds a Nagapasa with

yellow as its colour;

in the North West

Sangkara holds a green

Angkus, in the North

Wisnu carries a black

Cakra; in the North

East Sambu has a blue

Trisula, and in the

middle is Shivaholding a colourful

Padma.

The Pasupati ceremony

is performed

differently according

to place, time and

conditions, as well as

the particular

believes of the local

community. There are

simple and complicated

ceremonies, depending

on the level of

ceremony, and the

thing being pasupati-

ed. If the ceremony is

only for a gelungan

(crown) and otherdancing costume

accoutrements, the

pasupati ceremony will

be a simple one.

However, if the

pasupati ceremony is

to sacralize a Rangda

or a Barong, the

ceremony will be more

complicated and

unique, and it will

attract the attention

of all members of the

community.

In the art of maskmaking, all masks can

be given a pasupati

ceremony. However,

there is one mask that

needs a special

pasupati ceremony: the


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Dalem Sidhakarya mask.

The masks appearance

with its fang-like,

protruding teeth, is

very frightening. This

mask is the final mask

presented at a Wali

Sidhakarya mask

performance. Balinese

Hindus believe that

the function of the

Sidhakarya mask is tolead a ceremony and to

make a ceremony

successful. Sidha

means to succeed and

karya to work. During

the climax of a large-

scale ceremony such as

the Pancawali Krama,

in March 1999, wali

dances were performed

including Rejang,

Baris Tombak, and

other baris dances:

Wayang Lemah and

Sidhakarya, as priestswere praying over the

offerings. Without a

mask dance, some

community members

consider that the

ceremony is

incomplete. Some even

consider that a

ceremony is not

complete without a

Sidhakarya mask

performance. In the

Balinese dancing

encyclopedia, the

Sidhakarya mask is

considered the most

important because it

symbolizes the WisnuMurti.


29/30


In puppet shows, all

puppets used for a

performance are given

a pasupati ceremony

The leather puppets

that need a special

pasupati ceremony are

the Sanghyang Shiva,

Tualen, Tirtha and

Kayonan figures. These

puppets are given

special treatment

because of their

function, namely to

ask for tirtha (holy

water). The Shiva

puppet figure for

example is considered

to be Shiva by the

Mangku Dalang


30/30

(puppeteer) when he

asks for holy water.

NADI - Trance

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