Property:Description en
From BASAbaliWiki
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Barong Brutuk is the embodiment of Bhatara Ratu Pancaring Jagat in Trunyan village of which there are 21 people. The faces of the barongs resemble primitive masked faces with large white or brown eyes and are thought to be relics of pre-Hindu culture. Barong Brutuk is danced by male dancers taken from members of the truna sekaa in Trunyan village. Before dancing the sacred barongs, the cadets must go through a process of sacralization for 42 days. They lived in the vicinity of Bhatara Datonta and every day was tasked with cleaning the temple grounds and learning an ancient song called Kidung. During the sacralization process, the cadets were forbidden to have contact with the women in their village.
Another activity carried out during the purification process is collecting banana leaves from Pinggan village which are used as clothing for the Brutuk dance. The banana leaves are dried and then knitted with peeled rope (banana tree) into a kind of skirt that will be used by Brutuk dancers. Each dancer uses two or three sets of clothing made of banana leaves, some of which are hung around the waist and partly on the shoulders, under the neck. Brutuk dancers use panties which are also made from banana tree rope.
The Barong Brutuk performance is staged at noon just as the Odalan Day begins at Ratu Pancering Jagat Temple. Usually the Brutuk ceremony lasts for 3 days in a row starting at 12.00 noon and ending around 17.00 pm. The Brutuk dancers wear dried banana leaves and headdresses made of coconut leaves; One serves as King Brutuk, one functions as the Queen, one functions as Patih, one serves as the Queen's older brother, and the rest are regular members. The Brutuk dance illustrates the concept of a dichotomy in the life of the Trunyan community, namely two groups of people, men and women.
The Brutuk ceremony begins with the appearance of member-level embodiments. They circled the temple walls three times each while waving whips to the audience participating in the ceremony. The audience attending the ceremony began to approach the Brutuk dancers to pick up the loose banana leaves which they would use as a means of fertility. The spectators who managed to get the banana leaves from Brutuk's clothes would keep them at home and then spread them out in the rice fields when they started planting rice. They expect a successful harvest.
The last stage of the ritual performance begins in the evening, led by a pemangku (holy man), the women bring new offerings to be presented to the King and Queen Brutuk. When the offerings have been offered, the King and Queen dance together, while the other Brutuks and the audience just watch. A pair of Kings and Queens dance an ancient move, which imitates the behavior of a wild partridge. The King as keker (rooster) and the Queen dances as kiuh (hen). There are many wild partridges in the area around Trunyan. They pop their heads, swoop, peck and move their hips, claw at the ground and make sudden attacks on each other while flapping their wings. Movements such as cock fighting or flying. At the time of sandya kala, the dancers walk down to Lake Batur. Brutuk men with red masks, take a position by lining up behind the King, while masked dancers women line up opposite them, behind the Queen. The love dance of the King and Queen continued for about half an hour, while the male and female Brutuks continued to line up. Only the Patih and the brother of the Queen Brutuk remained active, they continuously whipped their whips at the audience.
The dance of the King and Queen Brutuk ends with the movement of the Queen flying and crossing a line marked with a banner. All Brutuk then cheered when the King flew trying to pounce on the Queen. The King immediately caught him and embraced the Queen. At that moment the youths who became Brutuk, cheered in unison, as they ran into the water and threw themselves. There they stripped the remnants of the banana leaves that became their clothes, swam and had fun unwinding. Their costumes were left afloat, while their masks were picked up by older members of the tribe who descended to the shore of the lake to provide assistance. After that the dancers and the audience separated for dinner after all the celebratory activities were over.
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Buru is a contemporary dance work by artists Dewa Ayu Eka Putri and I Putu Tangkas Adi Hiranmayena, both of whom created an experimental duo team known as ghOstMiSt. Buru is one of their works in 2021, this work is inspired by the novel of the legendary Indonesian writer Pramoedya Ananta Toer in the Tetralogy Pulau Buru. Although in this dance work the focus is more on feelings of isolation, the ability to fight and survive the feelings of anxiety, fear and death, when political prisoners are exiled on Buru Island. +
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COMA (Composting Around) is a composting activity carried out by young people from the school environment who then moves into the community with a background of organic waste which damages the environment if not properly processed. The COMA action begins with socialization in the form of education in the form of knowledge and practices about composting on a regular basis to young people in schools such as high schools. After being given education, students will carry out composting practices directly in the school environment. This composting ability will then be applied in their respective homes which will indirectly be applied on a community scale, where the community is the largest source of organic waste. +
Tabuh Caru Wara was composed by composer I Dewa Ketut Alit from Banjar Pengosekan, Mas Village, Ubud. Dewa Alit was born into a family of artists in Bali. As a composer, he is known to have an "avant garde" approach but still considers traditional values. Dewa Alit is often invited to teach and compose Balinese gamelan abroad, including: Boston, Massachusetts, New York, Munich, Frankfurt, and others. In 2007, Dewa Alit founded Gamelan Salukat and has toured America in 2009 and 2010. Tabuh Caru Wara was created in 2005 which has the meaning of harmonizing the complex dynamics of values, friction, clashes, conflicts, opposite directions, the concept of complementarity and complexity contained in the cycle of days based on the Balinese calendar. +
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Without warning, a fierce wind sprang up in Room 21. The book that Luh Ayu Manik and her friends were reading shook and then flew about the room. And from the pages of the dirty, torn and tattered book, horrid demons appeared. Luh and her friends wanted to run away but they couldn't move ... they were like statues. I Wayan and I Made wanted to scream ... but their lips were sealed shut and they couldn't speak. +
When walking home after watching ogoh-ogoh, Luh Ayu Manik and Putu Nita were surprised to see the young people falling up and running around, and screaming in fear accompanied by asking for help. "Tulung-tulung ..." shouted Wayan. There are people who can walk. the body is tall and made of all kinds of plastic and cork. Instantly Luh Ayu Manik remembered I Wayan's behavior with and I Made who liked to throw away the trash when making ogoh-ogoh into the river this morning. +
