Mystical symbolism of the Sufis in “Gulshan-i Raz”
D. The mole
IV. THE MEANING OF YANTRA ART PERSPECTIVE AND MYSTICISM
4.1 Symbol Meaning
According to the Kamus Besar Bahasa Indonesia, Tim, et al. in 1999, harmony comes from the word harmonic which means harmonious, balanced, in harmony, accompanying each other from one small, complicated form to the largest form to become interconnected as a harmonious whole.
The harmony in this research is the form of Yantras used in various religious facilities are forms that are interconnected. Harmonic into an inseparable balance. Assembled into a structurally harmonious arrangement of the series of yantras, both from the size
167 of the equipment they are made of, to the
function of the yantras.
4.2 The Meaning of Harmony
According to the Aesthetics Book An Introduction by A.A. Djelantik (1999).
Symbol means: A sign in the form of a painting, certain forms, etc. Which has a certain meaning. Symbols that have certain properties that mediate objects.
Symbols are made sometimes of the nature of certain goals agreed upon by his clan that become a common hope. The value of this symbol we can move according to the purpose of the meaning of the symbol. The symbol states the nature of the form, the characteristics of the agreed form, as a signifier of a hope.
Associated in various religious facilities is a form of symbol of the characteristics of the introduction of requests or hopes together to achieve the goal of living in harmony.
4.3 Magical Meaning
Frazer (1854-1941) stated that the origin of religion was magical. According to Frazer, magic is human action to achieve a purpose through the forces that exist in this universe. Furthermore, Frezer said, magic is built on the assumption that when a ritual with an act or the creation of a form of work is carried out correctly, the consequences that arise will also definitely be as expected (interview with informant Ida Bagus Anom on 2nd August 2022). An Undagi bade from Griya Angantaka Badung Village said that at the time of making religious ceremony facilities, statues, pratima, barong, etc.
cannot be separated from the magical
elements that surround it, he said that in the process of making it, the undagi is very dependent on the help of niskala.
Therefore, before starting the making of the undagi arrange the means of offerings that aim to ask for strength and help and ask that in the manufacture to be avoided from unwanted events due to the influence of the skala and niskala factors.
Because in some cases the undagi can die because of a violation of ethics when making religious works, so that there is a magical attack from the supernatural realm.
Manufacture of Yanta symbols such as religious instruments, masks, barongs, etc. has a very strong magical and mystical meaning. Which means that in this world it does not stand alone but there are external forces that must be worshiped, respected so that harm does not occur. By glorifying taksu, pleading with Betara Wiswakarma is believed to be able to increase the magisc spirit of a Yantra. Which implies a glorification of the spirits of the Gods.
4.4 Courage Meaning
Courage is one of the attitudes that should be exemplified because it is ready to decide any event that is carried out and dares to appear in the forefront. Ready with everything that is faced based on the conditions of the specified space and time.
Courage will not be formed from the birth factor alone, but a person's courage will appear when formed from normal conditions and in a situation of space and time, a place that fits the purpose. In Bali the supernatural is often called "wireng tanpa bala", meaning that they dare to go
168 forward in the forefront and are ready to
face all things, both skala and niskala.
Yantra and mystical practitioners can be interpreted as a reflection of their courage in their works and their movement activities that are displayed that will differ from one work to another. This courage will be used to measure and control one's strength in all activities.
This can be seen in the artist, for example, the color that is highlighted or focus interesting is red, a sign of being brave in all things. Likewise, magic practitioners in Bali dare to enter into a different world to explore and feel whatever happens in a certain space and time. To be fought, controlled and defended in every way.
4.5 Toughness Meaning
The practitioners of mysticism in Bali from the practice of their character can be interpreted as having a strong soul for themselves because they are influenced by the journey of their life, the individual character is very idealistic and has a high religious level as well as challenges that are mutually explored. The character of this toughness can be formed from a tortuous life journey full of obstacles, obstacles that occur, but the pattern of life and self-characteristics of high religious idealism forms a pattern soul that is tough in all respects to always be maintained, if this toughness in oneself is the main and noble personality and always to maintain in order to achieve the best, have a strong mental soul able to defend themselves from all things by solving the best problems.
4.6 Cultural Meaning
Religious facilities and other creativity as a means of religious events contain cultural meaning. Religious events are an outward form of religion that is practiced as Srada, containing a culture that spontaneously human creativity in its series strengthens its devotion to the worshiped.
Yantra contained in the forms of religious ceremonial instruments has a high level of mysticism, a creative culture of Balinese society is a local culture that is very mystical and haunted if you practice sesuratan. (Interview on 10th of August 2022). This culture of art and mysticism has become a unity to be preserved throughout the ages as the inheritance of the noble values of cultural civilization.
INFORMANT
Name : Ida Bagus Anom Age : 62 years old
Address : Br. Tengah Angantaka Occupation : Undagi
Name : Ida pedanda putra Age : 72 years old
Address : geria taman sari sanur Occupation : undagi , sulinggih V. CONCLUSION
1. Yantra form as art and mysticism
1)
Seni Arts, The influence of the ritual symbol Moksha2)
Mysticism The influence of God's secret teachings,Tantrayana Sakti Sidhi
Yantra, the art of mysticism, the synergy of a whole unity
2. The function of Yantra Art and Mysticism Perpective
169
- Prayer
- Repellent
- Purification
- Authority
- Aesthetics
- Education
- Social
3. The meaning of Yantra from the perspective of art and mysticism
- Symbol
- Courage
- Harmony
- Toughness
- Magic
- Culture
REFERENCE
AA, Djelantik. 1999. Estetetika sebuah pengantar . Denpasar; Paramita
Bandem dan I Nyoman Rembang. 1976.
Perkembangan Topeng Bali Sebagai Seni Pertunjukkan, Denpasar Proyek Penggalian, Pembinaan, Pengembangan
Seni Klasikal Tradisional dan Kesenian Baru. Pemerintah Daerah Tingkat I Bali.
L. Mardiwarsito. 1985. Kamus Besar Bahasa Indonesia Jawa Kuno Indonesia.
Jakarta : Nusa Indah.
Prawiwotatmojo. 1957. Kamus Besar Bahasa Indonesia Jawa Kuno Indonesia.
Jakarta : Nusa Indah.
Pudja, Gede. 2005. Bhagawad Gita (Pancama Veda). Surabaya : Paramita Sujianto, 2012. Teknik Guru Pendidikan Agama Hindu dalam Menciptakan Pembelajaran Berbasis PAIKEM di SMP Negeri 1 Wlingi Blitar Jawa Timur.
Skripsi ini untuk memperoleh gelar Sarjana dalam Fakultas Ilmu Agama dan Kebudayaan UNHI Denpasar: UNHI Titib. 1999. Theory Symbol. Denpasar : Paramita
Yuda Bakti dan Watra, I Wayan. 2007.
Filsafat Seni Sakral dalam Kebudayaan Bali. Surabaya : Paramita
AA Djelantik; Estetika sebuah pengantar.
Denpasar; Paramita
170
Marapu Ritual in Wawarongu Traditional Village, Central Sumba Regency in Modernity
Nyoman Arisanti
National Research and Innovation Agency of The Republic of Indonesia [email protected]
ABSTRACT
The indigenous community in Central Sumba Regency is very close to the marapu. Marapu is believed to be the protector of his people on earth. The indigenous community, especially in the Wawarongu traditional village, is still carrying out the marapu ritual. Modernity does not necessarily cause the marapu ritual to be excluded. This study aims to determine the marapu ritual carried out by the Wawarongu indigenous community amid modernity.
This research is qualitative. Data were collected through field surveys, interviews, and literature review, then analyzed descriptively. There are several marapu rituals in the traditional village of Wawarongu which are still ongoing today. Some of them are the pawandu wini ritual, crocodile summoning ritual, and the tauna usu manua ritual. These rituals are still taking place in indigenous communities, amidst the onslaught of modernity and the entry of modern religions. One of the rituals, namely tauna usu manua, has even become a tourist attraction supported by the local government. The existence of this ritual is supported because the marapu ideology is still steadfast and the adaptations made by the indigenous community amid modernity.
Keywords: marapu, indigenous community, Sumba
I.
INTRODUCTION
Sumba Island is part of the East Nusa Tenggara Province which is currently developing as a tourist attraction. Not only nature tourism, but cultural tourism is also one of the mainstays on Sumba Island, including Central Sumba Regency. One of the developing cultural tourism is the traditional villages. The culture of the Sumbanese people is known as the Living Megalithics Traditions, which is still being carried out by the indigenous community.
Indigenous communities live in traditional villages and adhere to the marapu belief. If viewed from the mythology of identity, Sumbanese who believe that they come from marapu will form one kabihu. This is as expressed by Maria & Limbeng (2007: 79) that genealogically the Sumbanese who are members of one kabihu identify themselves as coming from the same marapu. They then formed a village (paraingu) inhabited by
relatives who came from geneological relationships or from marital relations.
Marapu is a belief that is accepted from birth and continues from generation to generation.
Marapu believes that respect for ancestral spirits will provide protection for his people in the world. Marapu is the ideology of the Sumbanese. This is in line with the views of Cavallaro (2004, 136) which defines ideology as a collection of beliefs, ideas or ideals.
Along with socio-cultural developments and globalization there have been various cultural and ideological shifts. This is what happened in the traditional community in the Wawarongu Traditional Village. Modern religions began to enter the indigenous community. Several other traditional village communities in Central Sumba began to embrace modern religions. In addition, there have also been cultural shifts carried out by indigenous communities while still upholding the marapu tradition. However, this is not entirely the case in the traditional village of Wawarongu. Indigenous communities still hold fast to the belief in marapu, especially
171 with the inclusion of adherents of faith on
Identity Cards.
Indigenous communities in Wawarongu Village who adhere to modern religion are generally located outside the village so that the traditional village is only inhabited by adherents of the Marapu belief. Indigenous communities carry out various traditional rituals, especially the marapu ritual by involving the entire indigenous community.
According to Soeriadiredja (2003, 60) there are three things that become references to see the cultural identity of the Sumba people.
First, marapu which is a Sumbanese belief related to ancestor worship. Second, paraingu, namely the order of residence of the local community (customary village). Third, kabihu which is an order based on kinship or kinship relations. The three cultural identities indicate a relationship between the marapu belief, the traditional house as a supporter of the marapu tradition, and the kinship system (kabihu) as part of the marapu tradition.
This study aims to determine the marapu ritual that is still ongoing today in the traditional village of Wawarongu. Research related to the marapu ritual is quite a lot, one of which is Ratna et all (2012) who conducted research related to the ritual of summoning crocodiles in the Wawarongu Traditional Village, Central Sumba Regency. The Government of Central Sumba Regency also published a book related to traditional rituals, entitled Rituals of the Hidden Cultural Heritage (2012). This shows that there is an effort to preserve traditional rituals so that it is hoped that knowledge and understanding related to traditional rituals can be passed on from generation to generation.