The Rangda Mask - Research Paper Example

1 The Rangda Mask Introduction Bali, is the birth place of the Rangda performance, and as Rahasya Dawn Jaya, (2002) puts it, is considered to be a paradise on Earth. The Rangda is considered to be the dramatic representation of the underworld Goddess Durga, for the Balinese population. According to the ancient Balinese, the word ‘Rangda’ means ‘Widow’ and depicts a fearsome appearance comprising of a long fiery tongue and bulging eyes that are bloodshot. She represents evil personified and is used during important performances or special festivities. Traditionally speaking, the Bali Hindus have their roots steeped in Hinduism, Buddhism as well as in indigenous animistic culture and hence, the mask represents the Balinese Hinduism. According to their religious belief, both Gods and Goddesses are present in everything and therefore, every object has own power that represents God’s power. The mask is believed to be the home of spirits and the power they represent can be directed towards good and evil. 2 Fig. 1 – showing the Rangda mask as a headdress. In South Bali, the Rangda is quite common as a part of celebrations, theater performances or dances such as the Barong, Wayang, Legong and many others. The Rangda masks are of three kinds which include human, lion and giant. The giant mask is the most common of the three used on the island. However, all the masks are treated with great awe, reverence and respect because they are considered to be sacred objects by the Balinese people. 3 Symbolism plays a major role where the Rangda masks are concerned. There are three main parts of the mask and each part of the masks symbolizes different things. The wide open, bulging and staring eyes symbolize anger and cruelty, while the twisted tusks symbolize that the Goddess is a wild beast and is merciless in her dealings. The long and fiery tongue symbolizes her ever present hunger for prey with a promise to burn everything in its wake. Fig. 2 - http://www.gettyimages.com/detail/photo/mask-of-rangda-the-evil-witch-bali-royalty-free-image/82 The Rangda dancer speaks in the ancient Kawl language, in a whining and shrill tone that is menacing to the opponent. She is a threatening figure who grunts, shrieks and points out menacingly while reeling her head back and forth at her opponent. Ritualizing the Barong and Rangda, a dance drama, that forms a part of the much lengthier 4 Calonarang story, signifies a cleansing and spiritual balance for the members of the community against evil. This dance drama comprises of a mythological battle with the lion (Barong) on one side and the witch (Rangda) on the other. This ritual performance has a great impact on its audience and some of them go into a trance during the experience. Fig. 3. Artist – Cokorda Raka Tisnu (2006) Rautenstrauch – Joest- Museum – Barong Performance 5 The Barong symbolizes the good in us, while the Rangda symbolizes the evil in us. The Barong encourages the community members to fight against all that is evil and those who go into a trance, help to safeguard the lion by fighting against the Rangda using krises or daggers. Greene, Oliver (1998) explains that with each pierce from the dagger or kris, they expel the evil within themselves and states that, time is “reoriented into a two-dimensional phenomenon.” However, according to Edward Herbst, (1997) The ‘Barong is defeated by Rangda.’ Fig. 4. Villagers using a Kris to stab themselves while under the spell of Rangda. Photo courtesy Robert Wihtol. The making of the Rangda mask is a long drawn process that follows many rituals that make it sacred. The width of the mask is 7inches, while the height is 9 inches. 6 According to the Balinese traditional mythology, Rangda is believed to be demon queen of the Leyaks living in Bali. The mask is imbued with spiritual energy which they call ‘Taksu” and it is this that “integrates the state of the performer with the physical form of his own body.” (Herbst, 1997) Though all masks are not sacred, or kept safe and worshipped in the temple, the making of a mask is a long drawn out and complex process. The masks are created from a special pule wood, considered to have magical properties. The long hair is obtained from the horse’s mane and from the feathers of the peacock. The mask is then painted in bright attractive colors. During each stage of production, a special and auspicious day is chosen. The final stage is called the Pasupati during which a ceremony called the mejaya – jaya is conducted on completion of the mask, when the spirit is invoked to descend and fill the mask with special powers that would make the Barong sacred. Besides the bulging eyes, the mask has a pair of large ears and a headdress made of gilt leather with pieces of shining mirror to adorn it. Shiny ornaments of the same material adorn its hairy body and they shimmer as the dancers leap and turn with fast paced movements as they dance to the loud and rhythmic music. 7 Fig. 5. The painted mask with bulging eyes, large ears and decorative mirror adorning its hairy body. (Photo courtesy- Robert Wihtol) Conclusion The Barong (lion) is considered to be a sacred deity and is very much revered in their homes. The carvings of the lion are found not only as wall carvings in their homes, but also at cremation ceremonies, or used in decorative arts and other major performances. The rituals and music revolve around birth, marriage, health and death which in short is the human life-cycle. According to (Bretano, 89), the Barong/Rangda dance acts as a venue, “to express tensions and conflicts that are inevitable in Human 8 existence and how to overcome these.” However, this ritualistic dance/drama should never be performed with any ulterior motive such as for commercial purposes because it has been proved that those who have done so have suffered bad repercussions of the same by falling seriously ill. Therefore, the intention of the performance should not be directed towards gain, but with a pure selfless intention and singleness of good purpose such as spirituality. The repercussions experienced are considered to be the anger of the God’s and so in many of the villages this ritualizing dance/drama was banned in order to safeguard the people of the village from the wrath of Rangda. References Barong & Rangda. Bali Two Opposites. Web. 25th March 2014. http://www.baliaround.com/barong-and-rangda-balinese-two-opposites/ Jukka O. Miettinen. Barong, Rangda and Calonarang. Asian Traditional Theatre and Dance. Web. 25th March 2014. http://www.xip.fi/atd/indonesia/barong-rangda-and-calonarang.html Bretano, Franz. (1995), Psychology from the Empirical Standpoint, eds. Linda L. McAllister, 88 – 89, London, Routledge. Edward Herbst, Voices in Bali: Energies and Perceptions in Vocal Music and Dance Theater. (Handover, Wesley and University Press): 72 Greene, Oliver, “The Dugu Ritual of the Garinagu of Belize: Reinforcing Values of Society through Music and Spirit procession. Black Music Research Journal 18/5 (Spring, Autumn, 1998): 162 Rahasya Dawn Jaya (2002), Performing Paradise. Reframing Tradition, Modernity and Identity. University of British Columbia. http://moa.ubc.ca/research/library-and-archives/library.php Rangda (2004) Kulture Kid. Web. 22nd March 2014. http://www.baliadvertiser.biz/articles/kulturekid/2004/6rangda.html Xóchitl Ysabela Tafoya, Master of Arts, (2009) Ritualizing Barong and Rangda” Repercussions of Collaborative Field Experience in Kerambitan, Bali. Web. 26th March 2014. http://gradworks.umi.com/14/69/1469468.html Illustrations Fig. 1 – Rangda mask. Web. 27th March 2014. http://collection-online.moa.ubc.ca/collection-online/search/item?category%5Bobjecttype%5D%5B0%5D=869686&startletter=B&place_made%5B0%5D=64156&place_made%5B1%5D=62158&row=0 Fig. – 2 Mask of the Rangda- The Evil Witch Bali. Web. 24th March 2014. http://www.gettyimages.com/detail/photo/mask-of-rangda-the-evil-witch-bali-royalty-free-image/82 Fig-3 - Artist – Cokorda Raka Tisnu (2006) Rautenstrauch – Joest- Museum – Barong Performance. Web 25th March 2014. http://en.wikipedia.org/wiki/Rangda Fig. 4 & 5. Barong, Rangda and Calonarang. Web. 22nd March 2014. http://www.xip.fi/atd/indonesia/barong-rangda-and-calonarang.html Read More