"Topeng" Sidha Karya: A Balinese Mask Dance

Author(s): I Ketut Kodi, I Gusti Putu Sudarta, I Nyoman Sedana, I Made Sidia and Kathy
Foley
Source: Asian Theatre Journal , Autumn, 2005, Vol. 22, No. 2 (Autumn, 2005), pp. 171-
198
Published by: University of Hawai'i Press on behalf of Association for Asian
Performance (AAP) of the Association for Theatre in Higher Education (ATHE)

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 PLAY

Topeng Sidha Karya: A Balin

Mask Dance
Performed by I Ketut Kodi with I Gusti Putu Sudarta,
I Nyoman Sedana, and I Made Sidia in Sidha Karya,
Badung, Bali, 16 October 2002

Transcribed by I Ketut Kodi; translated by I Nyoman Sedana

and Kathy Foley; introduced by Kathy Foley

After a terrorist bomb exploded in the Sari Club at Kuta Beach, Bali, in October 2002,
a topeng peiformance of Sidha Karya (literally "completing the ritual work") was
presented by I Ketut Kodi and otherfaculty members from STSI-Denpasar, the Indone-
sian University of the Arts. The mask dance performance, held at the village of Sidha
Kaya in Badung, Bali, was an exorcistic response to the terrorist attack and probed
Balinese responses to the event. The introduction gives background on the story and
analyzes the way the narrative reflected both current social issues and traditional Bali-
nese philosophy.
I Ketut Kodi is a member of the Padalangan (Puppetry) faculty at ISI, formerly
STSI-Denpasar. He is a noted topeng dancer and a puppeteer who performs fre-
quently in Balinese ceremonial performances as well as internationally. He is both a
topeng master and a dalang of shadow puppetry. He is one of the first master per-
formers of these arts with a formal education through the tertiary level.
I Nyoman Sedana is a member of the Padalangan Department at ISI, formerly
STSI-Denpasar and Secretary of Research and Community Service Division for the
institution. He completed an MA at Brown University and a PhD at the University of
Georgia. His articles have appeared in Asian Theatre Journal, Asian Music, and
Puppetry International. He performs Balinese puppetry and other arts in Bali and
internationally.
Kathy Foley is a professor of theatre arts at University of California-Santa Cruz
and editor ofAsian Theatre Journal.
Support for this work was provided by AMINEF-Indonesia via a Fulbright Senior
Research Scholar Grant, UCSC Committee on Research, and Arts Research Institute.
The performance was recorded by Dewa Made Darmawan of SI.

"Sidha Karya" literally means "the one who accomplishes the

ritual work." In this essay the figure's name will appear in normal font

Asian TheatreJournal, vol. 22, no. 2 (Fall 2005). ? 2005 by University of Hawai'i Press. All rights reserved.

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 172 Kodi et al.

when referring
and be italicized
final mask prese
a Balinese cerem
over the island e
this story, durin
the conclusion of
and scatters rice
cious completio
33-34), Emigh (
and deBoer (1981
ing the odd blen
performance by
University of Ar
exploded at Kuta
form than is usu
ber, and little ab
formance gives in
it was molded th
ations. Its humor
tations of exorci
tainment. In Bali
such as topeng.
The performan
that it presents
and embraced. H
responds to the
the eternal varia
former must alw
and patra (situa
though the narrat
of the story, wil
he is performing
will first give th
known and unde
changes that the
and time.

General Background
The story is simple: King Watu Renggong, a sixteenth century
monarch of the Kingdom of Gegel who presides over the Balinese
"golden age," is holding a ceremony at the main Balinese shrine,
Besakih Temple, to pacify the bhutakala, or demonic forces. A ragged

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 TOPENG: SIDHA KARYA 173

old man from overseas, Brahm

ceremony and is kicked out o
crops fail, people fall sick, an
king, like Oedipus, must find
Remembering the old Brahm
that he himself has doomed t
ally the king's spiritual brother
Watu Renggong's father as m
brings the ceremony to complet
four directions. He takes the
"the Brahman who accomplish
mask will be required at all c
(though not in this particular
child from the audience, ca
(Emigh 1996: 170).
Some significant points of t
Karya represents a potentially
side the system that must be
iconography of the mask with
the demonic, yet Sidha Karya
performance itself is a "mask
cuted by the priest, for the d
movement, and story that ca
attention to the performan
being silently executed by the
same space. (4) The story mode
people, where all must work t
To sum up these points,
demonic but it can be control
ence a place of spiritual recog
these ideas in greater detail.

Power from Outside that

This performance took pl
Badung, which is fifteen minu
and the site of the bomb that
Sidha Karya temple that grou
to get the colored rice used in
panies each ceremony across t
gerous outsider-priest who is
Karya story has been given a
the island.
Both Sidha Karya and Kuta are in the southern part of the

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 174 Kodi et al.

island, close to t
to rise. As Michel Picard in Bali: Cultural Tourism and Touristic Culture
noted, "Kuta is in the lowlands on the coast, downstream toward the
sea (kelod), associated with demons and pollution. In the cosmic per-
spective, it is appropriate that the tourists-who like the demons, are
perceived as stupid, red-faced, hairy, and crude-are for the most part
installed by the sea" (1996: 89). The Sidha Karya character, and all the
outsiders, traders, and tourists who come to the island, are forces that
work on the cultural and ritual life of the island, which is largely lived
out in temples, courts, and villages that rise on the volcanic slopes
above.

The play, as presented here, is an examination of outsider and

disrupting forces, represented by Sidha Karya. These are forces that
contemporary Balinese must deal with to realign their culture, even as
they are traumatized by the withdrawal of tourist dollars in the after-
math of the bomb. The blast forced Balinese to question the easy
ingress that the Javanese terrorists had to the island, and many sought
to reexamine the political decisions that left the island vulnerable.
The Balinese border could not be closed because Bali is a part of the
Republic of Indonesia, but as a Hindu island in a nation that is 95 per-
cent Islamic, they were targeted by Islamic fundamentalists. The per-
former raised the question of the future: should Bali push for separa-
tion from the republic, joining other separatist movements in Aceh
and Papua? Such an idea is sometimes aired in Bali; however, the per-
formers here pass quickly from the political situation to the larger issue
that the attack represents-a metaphysical failure. The outside force
that encroaches on Bali cannot simply be dismissed as demonic and
external. It needs to be understood as linked to core Balinese values.
The Kingdom of Gegel, ruled by Watu Renggong and with Besa-
kih, the Mother Temple, represents the Balinese inner core. This area
is high on the slopes of Gunung Agung, the great volcano that is the
axis of the island. Kaja-kelod (mountain-sea) directionality informs Bali-
nese thinking, village layout, architecture, and performance. Watu
Renggong, with his refined face, chiseled teeth, and mountain abode,
is clearly the divine ancestor. He dances in a refined style and is the
forbearer of all the Balinese kings, but his power is limited. Sidha
Karya, with his big eyes, grinning face, and fangs, has sea and shore
connections. He dances in rough style and is said to come from
Keling, which may be Madura, Java, or even Eastern India, according
to which version of the story you follow. His less socialized ways are
potent and must be both appreciated and placated.
In this dichotomization of insider Balinese and outsider from
over the seas, we see an iteration of the Balinese concept of rwu

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 TOPENG: SIDHA KARYA 175

bhineda-two principles in oppo

male and female, the mountain
life and death-dualities pervade
one thing without its opposite.
the ruler rises from the people, a
of the demonic. Watu Rengg
other, just as the Barong (the
(the demonic widow-witch) are
mance. Though the pairs seem i
parties to progress. This idea of
onciled within the system is a
The refinement and the very l
Renggong-come in a mysteriou
distorted chthonic sibling-he
one, too, of the relationship of
sibling, which in Balinese thou
Balinese revere and propitiate
and succor.

In the version of Sidha Karya presented by I Ketut Kodi and his

collaborators, the demonic is associated with outsiders. Kuta with its
hedonistic Australian and American tourists, the immigration of Java-
nese Muslims workers-turned-terrorists, and even the seemingly intrac-
table situation of local poverty-these three situations are all bundled
with the Sidha Karya character. The disruptions these three problems
represent to the elite and the powerful of Bali must be addressed to
move forward. A society that does not find ways to incorporate the
potentially disruptive in positive ways is vulnerable.
The Bali bomb, in the interpretation of these artists, was not
just an outside attack on innocent victims in the way that the Ameri-
can 9/11 is represented in U.S. media. Via the ideology of rwa bineda,
"us" cannot be separated from "them" in the simplistic dichotomies of
American patriotic or Islamic fundamentalist rhetorics that revisit ideas
of crusade or jihad of the monotheistic faiths from which they derive.
In the Balinese conception "we" are "them"-Watu Renggong is the
brother of Sidha Karya.
The outsider has not been allowed his part in the ceremony and
therefore becomes a threat to the society. The bomb, in Kodi's inter-
pretation, is a wake-up call for Balinese to ensure justice for all. Until
the metaphysical issues are addressed, the political problems will not
be solved. While this idea of the outsider being recognized to accom-
plish the ritual is always present in a Sidha Karya performance, in this
presentation, we see a particular political and social justice application
being suggested to those who rule contemporary Bali.

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176 Kodi et al.

Iconography o
The Sidha Kary
masks have larg
normally associa
unruly hair are o
characters. A repr
head may show t
character looks a
high-class Brahm
In Balinese perf
refined and pret
most powerful
rang (see Emigh
images that have
story structure o
demonic masks r

Performance
The process of
Karya diverts view
happens simultan
demons) to focus
Hindu priest's ri
abstract action o
This brings us
niskala, the unsee
ality they are in
busily points out
epic time of the
and now (an exo
makes sure ever
Meanwhile, in
silence and creat
mudra (hand ges
kala. His action is
elements-barely
give human need
The ideas that i
out and writ larg
lets the demonic
unknown outsid
ongoing role ins

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 TOPENG: SIDHA KARYA 177

of the island. The topeng dancer

cal realm and, therefore, it is
that appeal to our senses-mus
mentary-to give spiritual ideas
Story is potent in that it allow
Narrative creates a structure that naturalizes the alien into the famil-
iar and recalibrates the demonic into the comic. This is the function
of the bondres (clown) scenes in topeng where performers introduce
new comic characters of their own invention. The pompous official
controlling everyone (Bondres Senggap), the one whose seems to mis-
speak but actually may be smart (Bondres Wus)-both are grafted
comfortably into the existing story's order.
The topeng dancer's artistic control exerts a kind of sympathetic
magic over life. Humans and demons, given their limited imaginations
and short attention spans, are easily subverted by the power of narra-
tive and the subterfuge of art. Danger and disruption are exorcised
from the everyday and embedded in a narrative that diffuses their
impact.

Relations of Ruler, People, and Priest

The performance shows a triangular relationship in the Bali-
nese social order. In one sense, the two poles are the ruler (Watu
Renggong) and the ruled (the attendants, ministers, and clowns). It is
this second group that is beset by the problem of the plague, bomb, or
other disasters. But the duo of leader and the led is triangulated by a
spiritual leader who in one iteration is Sidha Karya and in another is
Pandita Markandya, the priest of Besakih Temple. If we pay attention
merely to ruler and ruled, who divide authority, money, and power,
society will be sterile. Humans need a third space, a spiritual space,
which is represented by the Brahmana Keling/Sidha Karya and the
priest Markandya. These figures move us beyond complacency and put
spirit into action. Half comedians and half teachers, Sidha Karya and
Markandya point toward an area beyond the mundane. They help the
demonic and divine realize that they are merely flip sides of the same
cosmic power. They know the verdant mountain and the erupting
volcano are one and the same. They see that the bomb is a wake-up
call to social and religious action in Bali and beyond.

Language
The dialogue of the mask characters in a topeng performance is
in Kawi, an archaic literary language associated with ritual, and some
of the poetic song lyrics are in middle Javanese that is likewise imper-
fectly understood. Listeners and performers often cannot translate the

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 178 Kodi et al.

memorized phras
language associa
audience by the
To give a sense
of the text unde
original Kawi. Th
whose full-face m
the lines for the
Balinese. In som
the nature of th
words of the noble. In these few instances where there is no direct
translation, an approximation is provided in brackets without italics.
The taped performance text was transcribed by I Ketut Kodi, the
major performer of the piece. I Nyoman Sedana translated this Bali-
nese text into English. I worked from his translation, making the lan-
guage more colloquial, cutting repetitions, and clarifing the critique
and jokes. In the translation, pure stage directions are given in italics
enclosed in parentheses. Brackets with italics are used to explain mate-
rial that might be known to locals, but could be obscure to readers.
The strengths of the translation come from the Balinese performers
who shared their creative work; the weaknesses are in the loss of the
rhythms inherent in Balinese language and the interactive dynamic
that makes improvised performance so exciting.
The fact that the clowns are the source of virtually all the dia-
logue also accounts for the comic aura for what is a ritual event. One
is hard pressed to imagine an American audience accepting joking
near the World Trade Center devastation. But the Balinese approach
to disaster is more like the medieval spirit of Carnival. High and low
intermix. Laughter and clowning are indigenous remedies for the
post-traumatic stress, and clowns, not psychologists, heal the shattered
world.

TOPENG SIDHA KARYA

CAST

TOPENG KERAS MANIS (strong but sweet mask), I Gusti Putu Sudarta
TOPENG KERAS AGUNG (strong, noble mask), INyoman Sedana
TOPENG BUDUH/DEMUNG (mischievous mask), I Made Sidia
TOPENG TUA (mask of old man), I Ketut Kodi
PUNTA (the older court attendant/clown), I Gusti Putu Sudarta
KARTALA (the younger court attendant/clown, PUNTA's brother), I Ketut Kodi

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TOPENG: SIDHA KARYA 179

DALEM WATU RENGGONG (king of

PATIH ARYA TANGKAS (minister of
RSI MARKANDYA (Hindu priest), I K
IDA SANGKYA, later called SIDHA KA
Kodi

BONDRES WUS (leaking fool, since his

BONDRES SENGAP (out-of-control fo

Part I: Dance of Preliminar

(The presentation begins with a

represent different stages in huma
TOPENG KERAS MANIS, dances
aggressive warrior, TOPENG KER
TOPENG BUDUH/DEMUNG, b
finally, a frail old man, TOPENG
ing viewers of their mortality as th
The performance takes place outs
of Sidha Karya with viewers gather

li~ g

".l~s~'

FIGURE 1. Topeng tua,

represents a frail old
man who reminds us
of our mortality.
(Photo: Kathy Foley)

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 180 Kodi et al.

island come to th
used in ceremon
victims of the B
on 12 October 2
found guilty of t
nese, Europeans,
the bomb and an

Part II: Topen

Attendant's S

[Besakih, the majo

power and religio
the slopes of Gu
fications of the
and hundred ye
a sixteenth-centu
a fifteenth-centu
mony.]

PUNTA: (The older court attendant and clown sing this entrance song in mid-
dleJavanese)
Hana kidung rumakseng wengi,
teguh ayu luputing lara,
luputa bilahi kabeh,
jim setan ndatan purun,
paneluhan tan hana wani,
miwah pengawe
ala gunaning wong luput.
Geni atemahan tirta,
maling adoh.
Tan hana marah mring kami;
guna dudu pada sirna.

[Our kidung song holds back the night.

Strong and beautiful, it frees us from evil
Averting all illness.
Ghosts and demons tremble.
Witchcraft is not brave against it,
Nor are talismans of the void.
Fire becomes water.
Thieves steal far away.
Anger cannot touch us.
Spells of darkness vanish away.]

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 TOPENG: SIDHA KARYA 181

PUNTA: (Speaking) It's amazin

ent today, here at Besakih T
of Gegel, the Honorable Dal
been doing this "banish the
mother temple, in order to
everyone, from the court o
working together toward the
kih. My brother, Tut-Tut-Tut!
given a name from one to four
fourth sibling.]
KARTALA: (Singing) Raga lemp
waist so svelte].
PUNTA: Tut!
KARTALA: What's the matter?

PUNTA: You sing away as though you were on top of the world!
KARTALA: We have to create our own contentment. To live happy in
such times, who can we count on for entertainment but ourselves?
Don't rely on others to make you happy. We thought trusting other
people, letting them come here, not holding them to proper, local
restrictions, would make us happy. But instead it blows off our
heads like this recent bomb blast. [Kartala here references Javanese
Muslim immigration to Bali, which has supplied labor for the tourism
industry, but also facilitated terrorist infiltration.]
PUNTA: That's why we must be extra careful.
KARTALA: So I sing to myself. My song is meant to wake up my dor-
mant happiness. Look, everybody has two principles in opposition,
rwa bhineda: the good and bad, the happy and sad. [This concept of
two in opposition is central to Balinese thinking (Eiseman 1990: 2), and
forces must be kept in balance to safeguard the world.] So, you got sleep-
ing happiness and waking happiness. Since, my happiness is snooz-
ing, I need a song to rouse it.
PUNTA: What makes you so sad?
KARTALA: How's it going, this exorcism the boss is undertaking, called
nanggluk merana, banishing badness? This ceremony is directed
toward the ocean.
PUNTA: To the ocean?
KARTALA: YOU want to know why?
PUNTA: The reason?
KARTALA: Because this epidemic comes from the ocean! Purity and
impurity both can be traced back to the sea. [Balinese thinking sees
a continuum from higher (mountain-kaja) to lower (ocean-kelod). Kaja
elements are more positive and holy, while kelod elements are considered
disruptive. An unending cycle links the kaja and kelod. For example, water

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 182 Kodi et al.

must rise from

produce rain.]
PUNTA: Oh, ye
KARTALA: Befo
pacification, sa
enormous drag
ceremony. [Nag
world, where the
five kinds of cer
ancestors, gods,
demons.] Please
mony.
You see, the s
and impurity.
mony, so that
moving in a dru
PUNTA: Geez! S
you can't drag
ignore your fee
What the hell
(KARTALA cont
moving even mor
KARTALA: Slow down!
PUNTA: Slow down?

KARTALA: If you go, go slow and you can really take things in. If we
rush, we miss everything. Slow is better: if there is a coin left
behind, we can pick it up.
PUNTA: What are you talking about?
KARTALA: Slowly, we sweep the temple floor, and when we find a Chi-
nese coin left behind from the ritual [Chinese coins with a hole in the
center are a customary part of offerings], we give the coin to the priest,
because it is temple property.
PUNTA: We hand it over.

KARTALA: The next day we slowly sweep the temple again, and if
there is a five-thousand rupiah bill left ...
PUNTA: We hand it over again!
KARTALA: Nope! We pocket it.
PUNTA: Oh! How come?

KARTALA: Because the priest is not at the temple to give it to. The
lage leader is also gone. We plan to hand it over the next day, b
after all, the wind would blow it away if we left it carelessly aroun
the temple! But going home from the temple, we pass a meatb
soup peddler, and, oh! the stomach's uncontrollable appeti

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TOPENG: SIDHA KARYA 183

reduces the five thousand r

the kids get their hands i
money that's left.
PUNTA: So, the plan for han
KARTALA: At least in the pla
PUNTA: Whoa! Don't you have
KARTALA: Now is a time we
Don't blame others.

PUNTA: In this contemporary cataclysmic chaos we are facing, what

can we do?

KARTALA: Everything has its good and bad dimensions. Even the
recent bomb blast at Kuta has something to teach us.
PUNTA: How can you say that?!
KARTALA: The bomb woke all us Balinese up from our deep sleep.
Although the national law is there to deal with the crime, still we
Balinese always look for the good side of things, thanking God for
whatever hits us, whether happy or sad. After all bad thing or even
sickness, can wash away our sins and impurities.
PUNTA: Really?
KARTALA: A car crashes and a Balinese is thankful: "She smashed up,
but thankfully only the car was destroyed. She was safe." Or,
"Lucky he's dead, otherwise he would have had a dog's life in a
bloody, battered body."
PUNTA: Better dead than confined to bed! Our ancient literature sug-
gests that one is lucky to be reborn a human, even a defective
human. [Humans have more possibility of correct living than other crea-
tures and are, therefore, closer to enlightenment.]
KARTALA: As a human one can lift her- or himself out of the misery
of existence.

PUNTA: One can help himself overcome the misfortune of being?

KARTALA: That's it! A sick dog doesn't even know to seek medical
treatment from a veterinarian. Humans are luckier: they can dis-
tinguish between right and wrong. So there you have it-we snooze
too long, and, then, suddenly there is a "BOOM!" You gotta thank
the noisemakers, because the explosion wakes us.
PUNTA: And this current tragedy?
KARTALA: What is tragedy? This misfortune is not the only one. If a
rich person forgets himself, becomes arrogant or loses everything,
that is tragedy, too. If one achieves high position then forgets her-
self and falls low, that's tragedy, too. We need to take a hard look
at ourselves and not be careless.

PUNTA: (Singing) Sakti nyana dharma boganya tan alah. [Preserve what
you have, with dharma's wisdom make it last.]

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 184 Kodi et al.

KARTALA: (To t
the great volc
hardship. [An er
island, in 1963 le
tations of the
misery, but ig
easy. But the D
PUNTA: But wh
KARTALA: She
offering: "Lor
PUNTA: Then
supreme God,
Bhatara Dalem
KARTALA: You
have three deb
We owe them t
PUNTA: Why p
KARTALA: Our
the dewa yadny
reason a templ
pacifying lower
vals are held ever
Caru are blood s
ceptualized as bh
elements of whi
elements. See E
tors should be
ceremonies for the dead ancestors and the ceremonies for the liv-
ing humans. How large a deposit of good karma do you have to get
in before you achieve heaven?
When your ancestor reincarnates as your child or grandchild,
it makes sense to save some money to educate them. Don't blow
everything cremating a parent, because before you know it, that
parent will be born again as your child, and you'll need to raise
him. Don't let him be a poor beggar and don't resort to gambling,
dice, and cards to find funds. The fifth of the five categories of cer-
emony is debt to the priest, the rsi, and is paid with the rsi yadnya.
We owe priests because they received the holy teaching of the four
weda, the holy books, which give eternal spirit to our world.
PUNTA: That is the significance of all these ceremonies?
KARTALA: Ceremonies aren't to show off: One guy cooked five pigs,
so we cook ten to prove we're better! Somebody stacks amplifiers
on the wall, so we install them higher up a coconut tree, so our

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TOPENG: SIDHA KARYA 185

ritual chants blast louder to

loudest ceremony is not wh
make! Only honesty and de
guideline that says a little c
ing, while an enormous yadny
devotion deserves a blessing. [
seen in contemporary Balinese ce
PUNTA: I get it! Thank you,
KARTALA: Oops! Our king, B
king) Please enter, my Lord

Dalem Scene in Besakih

[DALEM WATU RENGGONG en

like. The dialogue of the king is
speech in Kawi, a form of old
bers. Viewers derive their under
text into colloquial Balinese by t

:i?

s?"

~4,

:~

~i

i
t?

r ?
a

Q _1 4
a:~?t ?
I
1* :?""
e

FIGURE 2. The Dalem

dances in refined style
r

and the white or light-

colored mask shows his
noble nature. (Photo:
Kathy Foley)

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 186 Kodi et al.

DALEM: (Recited
kaning delaha
KARTALA: (Tra
children, and f
DALEM: (Recited
KARTALA: (Tra
DALEM: (Recite
two servants.]
KARTALA: (An
DALEM: (Recite
[Be careful in
KARTALA: How
DALEM: (Recited
ingking, ulun b
durasa abawuras
two servants,
for a cabinet m
the king and hi
KARTALA: Plea
meeting chamb
ence hall.)
PUNTA: Now we are at Kerta Gosa. My lord, let me pose a question.
Why does your countenance looks so grey, as if the sun were
blocked by clouds?
DALEM: (Recited by KARTALA) Uduh carakaningsung maka rwa. [Oh, my
two servants.]
PUNTA: Here we are, my Lord.
DALEM: (Recited by KARTALA) Tan hana rwa tri kang wacana hyang
mami kaya mangke.
PUNTA: You say, "There is one thing that burdens you?"
DALEM: (Recited by KARTALA) Lwir gineseng tanpa pui ikanang anta
wredaya kaya mangke.
PUNTA: Your mind is scorched, but not by fire.
DALEM: (Recited by KARTALA) Mawas mandeg gatinikanang yadnya
tanpa pala.
PUNTA: (Translating) Because the ceremony breaks off without result.
DALEM: (Recited by KARTALA) Lwir nirdon ingulun anadi ratu, tan Sidha
angawe suka, santika tuasikanangpara jana.
PUNTA: (Translating) You say you are a failure as king, unable to bring
happiness and peace to our people.
DALEM: (Recited by KARTALA) Sekayaning mangke tan hana para patih
umareka.

PUNTA: (Translating) Your ministers fail to join you for this meeting.

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 TOPENG: SIDHA KARYA 187

KARTALA: (Spoken narration) B

one arrives.

PUNTA: (Sung narration in Sinom Lawe, a poem from the story Babad
Rangga Lawe)
Lumiring ri tinggal ira,
Kriana Tangkas wawu prapti.

[The lord sees someone approach.

His prime minister has just arrived.]

Minister's Scene in Gegel's Audience Hall

KARTALA: I am glad Patih Tangkas is coming. Let me translate for

you, Lord.
DALEM: (Recited by PUNTA) Lah pamere sira lungguha, pareng lawan
manireki.

KARTALA: (Translatingfor the king as he addresses his minister) Please be

seated up here next to me, not down below on the dirty floor.
DALEM: (Recited by PUNTA) Suwe ngong angati-ati, bayane mangguh pake-
wuh.

KARTALA: (Translating) I am weary of waiting, I've been so long in

distress.

PUNTA: (Reciting a cue for musical accompaniment for PATIH TANGKAS'S

dance) Riwawu karenga sojar Sri naranata ... [Having listened to his
Excellency.. .].
PATIH TANGKAS: (Recited by PUNTA) Singgih pakulun dewa Prabhu,
tabe-tabe kang kawula.
KARTALA: (Translating for PATIH TANGKAS) My Lord, Bhatara Dalem,
please accept my reverent greeting, Lord. Forgive me for disturb-
ing your yoga for the ceremony.
PATIH TANGKAS: (Recited by PUNTA) Angaturaken rikramanikanang
yadnya, apan tan Sidha yasa kadi pangaptin sri nalendra.
KARTALA: (Translating) I am sorry to report that the ceremony does
not meet your majesty's expectations.
PATIH TANGKAS: (Recited by PUNTA) Ksama akna kang kawula wimuda
temen.

KARTALA: (Translating) Please forgive my failure in service. Animals

for the ceremony die. Rice withers in the field, and, what's more,
people helping with the ceremony bicker with one another.
DALEM: (Recited by KARTALA) Sigra, uduh paman Pangeran Tangkas
kita . . .
PUNTA: (Translating for DALEM) Prime minister, my princely Uncle
Tangkas...

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188 Kodi et al.

DALEM: (Recite
kita pedeka mar
PUNTA: (Trans
ber, penataran
guidance for t
KARTALA: Our
ing spiritual g
PATIH TANGKA
Yan tonin man
apedek oyeng pe
KARTALA: (Tra
wait here, whi
KARTALA: Righ

Pandita's Scene

PUNTA: Here w
MARKANDYA:
mouth, which all
Kawi text and t
paramarta pand
Markandya nor
looking around.
Sri ajiJaya Kepa
other than Pr
Dalem Watu R
PUNTA: Yep! It
MARKANDYA
atawan-tawan t
PUNTA: (Transl
prayers here i
MARKANDYA: M
kon umawasa a
PUNTA: (Trans
he sends me to
MARKANDYA:
ruha, uh?
PUNTA: (Transl
PUNTA: (Recitin
Garjita rituasi
PATIH TANGKA
marmitanyan
haro-hara yadny

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 TOPENG: SIDHA KARYA 189

PUNTA: (Translatingfor PAT

because of the problems th
for the ceremony die. The r
ple doing the ceremony sna
so many reasons to pray! Th
MARKANDYA: (In Balinese)
when your ceremony goes s
PUNTA: Sure, Sir.
MARKANDYA: God'sjob is con
PUNTA: We don't have a clue
we need holy men to help.
MARKANDYA: You have a pro
PUNTA: Geez!

MARKANDYA: Have ever checked in with God when things were going
well, something good happened? It's just when things turn bad
that you arrive with offerings and gifts to get God to help you.
PUNTA: Geez! I wasn't expecting a tongue-lashing.
MARKANDYA: Had I known what to expect, I would have refused
appointment as the temple priest.
PUNTA: Look! No matter what the cause is, here we are-praying for
God's blessing.
MARKANDYA: Ah-ah Rakryan Pangeran Tangkas pwa ya kita.
PUNTA: (Translating for MARKANDYA) Hey, Prime Minister Tangkas.
MARKANDYA: Wak akna talinganta rwa rengenakna ling sira Markandya
kaya mangke nah.
PUNTA: (Translating) Listen to me, to Markandya.
MARKANDYA: Enak kengetakna ayua lipya ring adnyana. Duk anamta-
makna kunang karya sakeng pakon Dalem.
MARKANDYA: (Translating) Remember as you began work for this cer
emony?
MARKANDYA: Hana wangprapta angwarahakna awaknya mengaran Sang-
kya, sakeng Keling pwa sira.
PUNTA: (Translating) There was a Brahman from Keling, calling him-
self Ida Brahmana Sangkya.
MARKANDYA: Nista cuil katon pwa sira.
PUNTA: (Translating) From his appearance you could see it already:
no money, dirty clothes, a nobody.
MARKANDYA: Lwiryan wang tanpa wangsa tan hana pangaweruh maring
adnyanan ira.
PUNTA: (Translating) An outcast and, what's more, stupid. You read
him in one look.

MARKANDYA: Angwarahaken asesanak lawan Dalem Waturenggong.

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 190 Kodi et al.

PUNTA: (Transl
Watu Renggon
MARKANDYA:
kana lana lanus
PUNTA: (Transl
the ceremony
mony successf
MARKANDYA:
olih Dalem.

PUNTA: (Translating) But he was a nobody, a vagrant, a homeless type

that you don't let sit by a king, but you just kick out in the road.
MARKANDYA: Kedanda pwa sira kebayang-bayang.
PUNTA: (Translating) Without a thought you punished and tortured
him. It didn't matter. After all, he was a nonperson!
MARKANDYA: (In Balinese) You gave him three thwacks without a bit
of pity and cast him away. (Directly to PUNTA rather than PATIH
TANGKAS) Even you, you throttled him twice back then.
PUNTA: Geez! Does everything like that get recorded spiritually? I was
just going with the flow. If other people beat someone, I just fol-
low suit.

MARKANDYA: You can be sure that if you are sitting at the card table,
even though you are not betting, the police will bust you for gam-
bling too. It's in the cards.
PUNTA: I was a victim of circumstances, just in the wrong place at the
wrong time!
MARKANDYA: Nanging yan hana idepta lamakna paripurna karyand
dalem ...

PUNTA: (Translating) If you want the king's ceremony to be success-

ful...

MARKANDYA: Poma perihakna sira Ida Sangkya mangke maring na

Haturakana ngrajegaken kunang karya, sungsung sira mari
Bali. Byakta pari puma karyans sri aji.
PUNTA: (Translating) Seek this man, Ida Sangkya, out in sout
[the site of the performance] and apologize. Ask him to forgi
cruelty and offer whatever he demands to obtain forgiven
Bali. To get to the point: acknowledge your sin, your injustice
wrongdoing.
MARKANDYA: Sigra-sigra perihakna.
PUNTA: (Translating) Go find him now.
MARKANDYA: Without that Brahmana Sangkya, no priest can make
the ceremony successful. He is the wildcard in the success of this
ceremony. You won't be able to change your suit until he deals you
a new hand.

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 TOPENG: SIDHA KARYA 191

PUNTA: Wow! Who would ha

at card games and gambling
MARKANDYA: Go find Sangk
cess for your ceremony.
PUNTA: (Speaking here for PA
your cardinal wisdom rains
sanjiwani, holy water of eter
MARKANDYA: Go find him
TANGKAS gestures and exits.)
PUNTA: (Responding to TANG
one to Badung to pay homa
me tell the troops. I got ev
people of Gegel, the hunt i
No slackers need apply!

Comic Scene on the Road

BONDRES WUs: (Comic whose v

PUNTA: In a time of terror,
BONDRES WUS: I'm so hoppy
"happy" and the diction makes
PUNTA: Excuse me?

BONDRES WUs: Feel so god.

PUNTA: (Louder) I didn't quite catch that. Oh, you mean "good"?
BONDRES WUS: I'm real-ee somebooby.
PUNTA: Really somebody? You?!
BONDRES WUS: (Pointing to PUNTA) Look at 'em scream, nobooby
car[e]. But I move arm 'is way, gamelan stops. [The musicians follow
his gesture.] I swing arm 'at way, gamelan starts. [Musicians respond
on cue. ]
PUNTA: I don't believe it!
BONDRES WUs: 'Ese hands-born to lead. I'm 'ade for the leg-is-late-
sure.

PUNTA: You made for the legislature?! You a represent

people?
BONDRES WUs: Yes. (Indicating the orchestra) They follow my lead.
Shouldn't I leg-is-late?
PUNTA: (To the audience) If this is what the lawmakers are like, no won-
der this country is so far behind.
BONDRES WUS: Where we go-in' now?
PUNTA: Didn't you hear the announcement?
BONDRES WUS: I heard the "klung-klung-klung-klung!" of the slit
drum calling "Ge-ge-gel! Go-go-go to..."

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 192 Kodi et al.

PUNTA: ... Dem

slit drum called
Balinese villages.
direction associa
BONDRES WUs:
presided over by
PUNTA: ' Southwest.

BONDRES WUs: Down demon way to [s]eek a Brahman named ...

PUNTA: Ida Sangkya.
BONDRES WUS: I'da Sunk-ya who made the ceremony drown. Cere-
mony sinker. Gotta find him. Undo the doodoo!
PUNTA: What did you say?
BONDRES WUs: To wrap 'er the mess take Sara's money!
PUNTA: Wait, I'm starting to understand you! "To repair the mistakes
of the ceremony!" Boy, it's a real job to translate this guy!
BONDRES WUs: (Upset) 'Ou don't know 'ow squeak normal language?
PUNTA: Don't get offended! You just don't speak like a regular dude.
(To audience) Just look at him: you can't tell if he's even human!
BONDRES WUs: Criti-a-sizing a fiend is un-fiend-ly. [Misquoting the
proverb "Criticizing a friend is unfriendly."] 'On't squeak of udders
imperfections, since 'o one in the world is perfect!
PUNTA: I understand, "Don't speak of other's imperfections, since no
one in the world is perfect." [To audience] He has his kakawin [old
Javanese literature] proverbs down. But, if he were to recite kakawin
for a temple ceremony, we would have to lock up the microphone
to save ourselves brain pain.
BONDRES WUS: 'On't be-little a little being. Room in this whirled for
fools and sages. (To the audience) 'On't 'ou know rwa bhineda, two
in odd position? Ugly and 'andsome? 'Ou know 'hat?
PUNTA: Oh! So now you lecture me on the two in opposition, like you
wrote the book on the rwa bhineda, the philosophy of two in oppo-
sition that makes up the world! (To the audience) Well, maybe there
is no harm in letting him think himself handsome and smart, if it
pleases him.
BONDRES WUS: So 'any people en route to Badung, I wanna go too!
PUNTA: Someone who looks like you? Wouldn't it be better to just
hide in the house?
BONDRES WUs: Notjust 'andsome who inherit the earth, ugly owns it
too! What is the difference? 'Andsome pay taxes, and ugly pay too!
PUNTA: No beauty in taxes anyway! Maybe you're right, and it is time
for equal rights for the ugly and the nobodies.
BONDRES WUs: In Badung ask I'da Sunk-ya, make all right, right
for all.

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 TOPENG: SIDHA KARYA 193

PUNTA: Maybe this guy is rea

all is right when there are r
together, 'cause we are actu
looking villager enters. BONDR
man begins waving his hands, w
going South to Badung.) Wh
black and white headdress
perfect security guard, a p
outfit of a tie, shoes, and lo
ado about nothing! Check h
BONDRES SENGAP: Hold it! I said hold! Don't move!
PUNTA: What is he so grumpy about?
BONDRES SENGAP: Stay where you are. And no laughing! The jour-
ney must be made in orderly order.
PUNTA: "Orderly order?" What's that?
BONDRES SENGAP: Traffic goes like this. The first must be first, th
middling ones in the middle, and the last ones just keep back. It
has to be managed appropriately.
PUNTA: So that's it. Tell our friends here.
BONDRES SENGAP: Everything must be in order according to the
prime minister's command.
PUNTA: This guy must be a member of steering committee. Tell my
friends here.

BONDRES SENGAP: Why are you staring at my teeth? My teeth are not
disorganized. They simply sprawl out every which way. If the par-
ent's house is full, some members may move outside the premises,
but the origin is still the ancestral house. Ditto for my teeth. [The
performers here refer to growing urban sprawl on the island.]
PUNTA: Some of your teeth are migrating?
BONDRES SENGAP: Right! Some people need to go to Badung, while
others must remain here taking care of the ceremony.
PUNTA: The jobs are divided among the participants.
BONDRES SENGAP: For a special ceremony, there are countless cows
and lambs to be slaughtered.
PUNTA: Those who like the cow ...
BONDRES SENGAP: COW!

PUNTA: Those who like the pig ...

BONDRES SENGAP: Pig!
PUNTA: Those who like the chicken...
BONDRES SENGAP: Chicken!

PUNTA: Those who like the egg...

BONDRES SENGAP: Chicken or egg, it's a special ceremony. Line up
fifty pigs at once. When slaughtering a pig, attach a microphone to

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 194 Kodi et al.

each pig's mou

that the stars fal
here.] When ch
microphone att
chopping: "Ch
noise that is louder than the bomb blast at Kuta.
PUNTA: He's hopelessly crazed! (Overriding the order of this clown and
inviting all to accompany him as equals) All right, all participants keep
on going so we won't be too late arriving in Badung.

Sidha Karya Scene in Badung

PUNTA: Whoa. We've already arrived in Badung. But where is the

Brahmana staying? Check out this guy! This may be him.
SANGKYA: (Singing)

Tingkahe dadi manusa

Mentik di gumine kali
Nora arta tanpa bawa
Nyen sela nganggon tamyu.

[The fate of a human being

Born in an age of madness
Without money or dignity
Who will let him be part of the feast?]

I, Sangkya, did not bring a gift to the ceremony, so no one offered

me a seat. They didn't even serve me coffee. Those with big gifts
were warmly welcomed and seated in main hall. This is an era
when money talks. Only the material matters. The rich man is
respected, don't you bother to ask why, even if he got his wealth
through corruption, stealing, manipulating, and outwitting the lit-
tle guys. People bow to the rich as if they were kings, because this
is the era of madness. Money talks and only the material matters.
(Singing)

Bilih kanggeh ngaba mala

Salah tampi.
Patute kat anggon iwang.

[They look on me like a leper

And avoid receiving me.
Though I am invited they say it must be some mistake.
Misconception, no reception, and
What's right is wrong.]

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TOPENG: SIDHA KARYA 195

Though I was invited they w

was to help, but they say I, m
wrong. They punched me, k
them receive the results of
PUNTA: Honorable Brahmana
SANGKYA: Who? Who is it?
just a bit ago.
PUNTA: Please, forgive me!
pay homage to you, and, at th

,sa~ 4~8 ~ ~ Mm

? m I L

Ofi

9gr

FIGURE 3. I Ketu
(Photo: Kathy Fo

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 196 Kodi et al.

The ceremony
cle at Besakih
problem and c
invite you int
SANGKYA: I am invited to Besakih now?
PUNTA: To your place at the feast, Sir.
SANGKYA: All right then, let's go. After all I came to Bali to help. It
was the Balinese who turned away my goodwill.
PUNTA: Forgive us and, please, forget our failures.

Ceremony in Besakih Temple

SANGKYA: Saksana ... [In the blink of an eye] [During the musical
interlude the performers mime the journey back to Besakih.]
PUNTA: My honorable king, Brahmana Sangkya has come.
DALEM: (Recited by PUNTA) Honorable Brahmana, please forgive me,
since I, King Watu Renggong, tortured you without cause, without
guilt on your part.
DALEM: (Recited by PUNTA) Enak tulusakna sih inganika, lamakana Sidha
paripurna ikanang karya, tapuan Inganika byakta tan ka Sidhan.
PUNTA: (Translating) We hope you deign to help us and make our
ceremony successful.
SANGKYA: So your Excellency reverses himself. Well even if you didn't
beg me to take over the ceremony, it is my obligation, my dharma
as a Brahmana. Sang wedadnya homo wangunan byakta ngamertaning
rat kabeh. Those with knowledge of the weda, the sacred books, cre-
ate ceremonies to nourish the entire world. If I know something, I
must use it in this ceremony to help the world. That was my inten-
tion when I came from Keling, to help you with the ceremony.
Unfortunately, you couldn't accept me as I was. But hear me now.
Know that there is Tri Pramana, the three essences: bayu is
energy, sabda is sound, idep is thought. Bayu manifests itself in the
people, providing energy for life. Sabda manifests itself in the king's
word, commanding the country. Idep manifests itself in the priest,
the Brahman, nurturing the ceremony. No matter how smart the
king is, without people, without the priest, he is nothing.
There is also Tri Sedaka, three types of priest: those who serve
Siwa (Shiva), those who serve Buda (Buddha), and those who serve
Bujangga (Vishnu). Siwa is on top, Buda is in the middle; Bujangga
is below. Top, middle, bottom-you need all three. Siwa-Buda-
Bujangga together equal the cosmos that is made up of the under-
world (bhur), this world (bwah), the world of the gods (swah). I now
undertake the ceremony. Do you have the flower?

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 TOPENG: SIDHA KARYA 197

PUNTA: What is the flower for?

SANGKYA: It is simply a tool to make it more tangible. I now cure the
sick pigs and make the empty coconuts full. Saksana. [This "in the
blink of an eye" cues musicians to provide the specific accompaniment for
SANGKYA's ceremony].
PUNTA: Wow! This ceremony is suddenly coming all together, it's get-
ting better and better. It's successful. All right! Rights for all!
SANGKYA: In the future too, keep this true.
DALEM: (Recited by PUNTA) Singgih inganika brahmana antyan suksema
dahat yayateki ingulun sawetnyan sidhakaryan ingulun mangke hana
ganjaran ingulun lawan inganika. Sekayaning mangke katekeng dlaha
inganika agelar Dalem Sidha Karya, wus mengaran Ida Sangkya.
PUNTA: (Translating for the DALEM) Many thanks Brahmana, we are so
pleased you made our yadnya successful, and we now honor you
with our highest ceremonial title. From now on we honor you as
Dalem Sidha Karya, "The one who completes the ceremony, the
ritual work." You are Ida Sangkya no more.
DALEM: (Recited by PUNTA) Muah yan hana wang anangun karya utama
oyeng Bali lamakana anuwur inganika anodya kunang karya, yan tan
mangkojahtesemat tan labda kunang karya.
PUNTA: (Translating) Also, whosoever holds a high ceremony in Bali
must henceforth invite you to oversee the ceremony, and if anyone
disregards this order, may their ceremony fail!
SANGKYA: Your Excellency gives me such a noble title, so high and
solemn sounding for the likes of me! But I cannot refuse it, because
it comes from you.
Now, with your permission, I will perform yoga in order to
change my outward image to better fits the title you have given me.
After my transformation I will take up my abode in Badung, in the
village Sidha Karya. Henceforth, in accordance with your decree,
anyone performing high yadnya in Bali, should request ritual tools
from the temple of Sidha Karya in the form of catur wija, four kinds
of rice. That means yellow rice (beras), white rice (ketan), black rice
(injin), and red rice (beras barak). Also request the five woods or
panca taru: including a young coconut leaf (lidin busung), a young
palm leaf (lidin ron), bamboo needles to staple the palm leaves for
the offering (semat), bamboo woven into rope, and coconut petals
(kloping). This is my pronouncement as Sidha Karya, the one who
accomplishes the ritual work. [These materials that are used in the
Sidha Karya ceremony during which the dancer scatters the rice to the four
cardinal points and prays while still wearing the mask of the Brahman.
The colored rice and leaves represent the four directions and the centerpoint
where the dancer stands. Five represents the unified cosmos. The five direc-

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 198 Kodi et al.

2?4l

:Ilk

I?, M

.. ..... ....

FIGU
mon

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PUN

REFERENCES

Bandem, I Made, and Fredrik deBoer. 1981.

Kaja and Kelod: Balinese Dance in Transition. Kuala Lumpur: Ox
University.
Dunn, Deborah. 1983.
"TopengPajegan: The Mask Dance of Bali." PhD diss., Union Graduate
School.

Eiseman, Fred B., Jr. 1990.

Bali: Sekala and Niskala. Vol. 1. Jakarta: Periplus.
Emigh, John. 1996.
Masked Performance: The Play of Self and Other in Ritual and Theatre. Phila-
delphia: University of Pennsylvania.
Picard, Michel. 1996
Bali: Cultural Tourism and Touristic Culture. Trans. Diana Darling. Singa-
pore: Archipelago.
Slattem, Judy, and Paul Schraub. 2003.
Balinese Masks: Spirits of an Ancient Drama. Singapore: Periplus.

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