Exploitation of Bali Traditional Symbols on Today's Design

Home , Acintya, Kediri Kingdom, Padmasana (shrine)

CULTURA 2011_VOL_8_No2_SH-A5Br.indd 1 CULTURA mote theexplorationofdifferentvalues andculturalphenomenain ted tophilosophyofcultureandthestudyvalue. Itaimstopro- www.peterlang.de are ding thevalues andculturalphenomenainthecontempo that research original on based judged tomake anovelandimportantcontributiontounderstan- manuscripts of submission the contexts. international and regional and ulture C F ounded in2004, ISBN 978-3-631-63292-5 ISBN xiology A hilosophy of hilosophy P of ournal J International ultura. C isasemiannualpeer-reviewed journaldevo- T he editorial board encourages encourages board editorial he rary world. 2011

International journal of philosophy of 2 culture and axiology CULTURA CULTURA 2011 and axiology of philosophyculture Internat i Vol VIII onal journal journal onal Peter Lang 20.01.12 16:01:36 Uhr No 2 No CULTURA 2011_VOL_8_No2_SH-A5Br.indd 1 CULTURA mote theexplorationofdifferentvalues andculturalphenomenain ted tophilosophyofcultureandthestudyvalue. Itaimstopro- www.peterlang.de are ding thevalues andculturalphenomenainthecontempo that research original on based judged tomake anovelandimportantcontributiontounderstan- manuscripts of submission the contexts. international and regional and ulture C F ounded in2004, xiology A hilosophy of hilosophy P of ournal J International ultura. C isasemiannualpeer-reviewed journaldevo- T he editorial board encourages encourages board editorial he rary world. 2011

INTERNATIONAL JOURNAL OF PHILOSOPHY OF CULTURE AND AXIOLOGY Cultura. International Journal of Philosophy of Culture and Axiology E-ISSN (Online): 2065-5002 (Published online by Versita, Solipska 14A/1, 02-482 Warsaw, Poland) ISSN (Print): 1584-1057

Advisory Board Prof. dr. Mario Perniola, University of Rome “Tor Vergata”, Italy Prof. dr. Paul Cruysberghs, Katholieke Universiteit Leuven, Belgium Prof. dr. Michael Jennings, Princeton University, USA Prof. Emeritus dr. Horst Baier, University of Konstanz, Germany Prof. dr. José María Paz Gago, University of Coruña, Spain Prof. dr. Maximiliano E. Korstanje, John F. Kennedy University, Buenos Aires, Argentina Prof. dr. Nic Gianan, University of the Philippines Los Baños, Philippines Prof. dr. Alexandru Boboc, Correspondent member of the Romanian Academy, Romania Prof. dr. Teresa Castelao-Lawless, Grand Valley State University, USA Prof. dr. Richard L. Lanigan, Southern Illinois University, USA Prof. dr. Fernando Cipriani, G.d’Annunzio University Chieti-Pescara, Italy Prof. dr. Elif Cirakman, Middle East Technical University, Ankara, Turkey Prof. dr. David Cornberg, University Ming Chuan, Taiwan Prof. dr. Carmen Cozma, Alexandru Ioan Cuza University Iassy, Romania Prof. dr. Nancy Billias, Department of Philosophy, Saint Joseph College, Hartford, USA Prof. dr. Christian Möckel, Humboldt University of Berlin, Germany Prof. dr. Leszek S. Pyra, Pedagogical University of Cracow, Poland Prof. dr. A. L. Samian, National University of Malaysia Prof. dr. Dimitar Sashev, University of Sofia, Bulgaria Prof. dr. Kiymet Selvi, Anadolu University, Istanbul, Turkey Prof. dr. Traian D. Stănciulescu, Alexandru Ioan Cuza University Iassy, Romania Prof. dr. Gloria Vergara, University of Colima, Mexico

Editorial Board Editor-in-Chief: Co-Editors: Prof. dr. Nicolae Râmbu Prof. dr. Aldo Marroni Faculty of Philosophy and Social- Facoltà di Scienze Sociali Political Sciences Università degli Studi G. d’Annunzio Alexandru Ioan Cuza University Via dei Vestini, 31, 66100 Chieti B-dul Carol I, nr. 11, 700506 Iasi, Romania Scalo, Italy [email protected] [email protected] Executive Editor: PD Dr. Till Kinzel Dr. Simona Mitroiu Englisches Seminar Human Sciences Research Department Technische Universität Braunschweig, Alexandru Ioan Cuza University Bienroder Weg 80, Lascar Catargi, nr. 54, 700107 Iasi, Romania 38106 Braunschweig, Germany [email protected] [email protected]

Editorial Assistants: Radu Vasile Chialda, Adina Romanescu, Marius Sidoriuc, Daniel Ungureanu Designer: Aritia Poenaru

Editorial Office Address: Alexandru Ioan Cuza University, Faculty of Philosophy and Social-Political Sciences, The Seminar of Philosophy of Culture and Axiology, Carol I, nr. 11, 700506, Iasi, Romania, Tel.:0040/232/201054; Fax: 0040/232/201154; e-mail: [email protected]

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Editor-in-Chief Nicolae Râmbu

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CONTENTS

VALUES and INTERCULTURAL COMMUNICATION

Asunción LÓPEZ-VARELA AZCÁRATE 7 Intertextuality and Intermediality as Cross-cultural Comunication Tools: A Critical Inquiry

Giuseppe CACCIATORE 23 Intercultural Ethics and “Critical” Universalism

Robert C. TRUNDLE 39 Art as Certifiably Good or Bad: A Defence by Modal Logic

Giuseppe D’ANNA 51 On the Correlativistic Construction of the Other. For an Analytical Anti-Spectacular Interculturalism: Nicolai Hartmann, György Lukács and Guy Debord

Che Mahzan AHMAD 63 Notes on Ethno-Pragmatics as a Device for Intercultural Communication Intelligence (ICQ)

Monica RICCIO 73 Democracy as a “Universal Value” and an Intercultural Ethics

Scott H. BOYD 85 Considering a Theory of Autopoietic Culture

Maximiliano E. KORSTANJE, Geoffrey SKOLL 105 Breaking the Symbolic Alienation: The New Role and Chalenges of Critical Philosophy in Next Millennium

Constantin STOENESCU 127 The Ethos of Modern Science and the “Religious Melting Pot”: About the Topicality of Merton’s Thesis

Wei ZHANG 143 Rational a priori or Emotional a priori? Husserl and Scheler’s Criticisms of Kant Regarding the Foundation of Ethics

Petru ILU, Laura NISTOR 159 Some Aspects of the Relationship between Basic Human Values and Religiosity in Romania

Irina POLYAKOVA 177 Drama of Life: Philosophical Biography as an Event in Russian Culture

Mohd Faizal MUSA 189 Javanese Sufism and Prophetic Literature

I Made Gede ARIMBAWA 209 Exploitation of Bali Traditional Symbols on Today’s Design

Nicolae RÂMBU 223 Iconostrophia of the Spirit

Isaac E. UKPOKOLO 235 Between Group Mind and Common Good: Interrogating the African Socio-Political Condition

10.2478/v10193-011-0028-6

Cultura. International Journal of Philosophy of Culture and Axiology 8(2)/2011: 209–222

Exploitation of Bali Traditional Symbols on Today’s Design1

I Made Gede ARIMBAWA Faculty of Art and Design Indonesia Art Institute Denpasar img.arimbawa @ gmail.com

Abstract. Based on the views of Hindus in Bali, the application of ornaments in the form of Balinese traditional symbols should follow the rules of the prevailing tradition. The symbols are created to show the cosmology and philosophy based on the teachings of Hinduism as indigenous in Bali and function as a means of a sacred ritual. But in reality the designers in Bali often exploit the symbols by “mutilating” and applying them to undue places, motivated by a desire to create a product or environment characterized by Balinese ethnicity. For example, Acintya relief, Karang Bhoma, Garuda Wisnu and others are applied as façade decorations for shops and banks, or they are created in the form of a statue to decorate crossroads, or used for decoration of the human body in the form of a tattoo and so forth. Seen from a semiotic approach, these actions can damage the structure of the meaning of symbols, because they bring about the interruption of the established relations of the signifier and signified and they form symbol fragments with unclear relations to meaning. Similarly, in today’s designs stamped with such decoration, they appear awkward and meaningless. From such behaviour, that practice creates styles such as pastiche, parody, kitsch, camp and so forth. Keywords: exploitation, symbols, traditional, Bali

INTRODUCTION

The concept of culturally based tourism development in Bali implies a wish for a reciprocal relationship or mutually beneficial symbiotic relationship to occur between tourism and the culture of Bali. The concept of cultural tourism is expected to construct a very close interaction between tourism and the culture of Bali as well as to provide significantly improved community welfare. So the concept, in fact, is ideal to strategi- cally create harmony and balance development in Bali when it is man- aged based on local wisdom. However, if the impacts resulting from tourism activities in Bali so far are re-examined, a dichotomy can be seen. On the one hand, many bril- liant achievements have been made and indirectly these can make the

209 I Made Gede ARIMBAWA / Exploitation of Bali Traditional Symbols community life in Bali better. This is in accordance with the results of Kean and Geriya’s research, which mentions that the interaction between tourism and the culture of Bali brings enough benefits or is beneficial for the development of Balinese culture as well as the development of economic sectors of society. On the other hand, these activities can have negative impacts and are threats to the preservation of the art and culture of Bali (Kean, 1973: 8; Geriya, 1993: 26). Many traditional values have become non-existent and even human relations have been damaged by development, commercialization and materialism. The social relationships among humans that were originally based on moral values have turned into relationships with self-oriented economic values and inter- ests. Collective culture has turned into individual culture (Couteau, 1995: 57). The results of a superior culture, in the form of traditional craft products including symbols associated with the teachings of Hinduism in Bali, should be positioned as inspiring creativity and reminders of rich local content as well as the identity of Bali; but in reality the symbols have been much imitated and have been “withdrawn” from their original meanings for other purposes. One example can be observed in the efforts of designers to exploit the symbols by “mutilating” or “cutting up” traditional Balinese decorations that contain symbolic values. The symbols are actually created with the established forms and conventions, meaning, content or weight, narra- tive philosophical, cosmological, religious values, and noble civilization. Traditionally the products are specially designed to apply to the means of worship and are considered sacred. But now they are selected and applied to products that are profane or they are placed inappropriately for the purpose of simply creating products with Balinese ethnic nuance. Items classified as high art as a result of high cultures lose “the soul” of sanctity or become commonplace products. At first glance these conditions do not mean there are problems, but if they are traced in depth, these attitudes can unwittingly become a “boo- merang” because they can threaten the sustainability and existence of the art of Balinese culture. Addressing the issue among the Hindus in Bali brings a polarization of views and arguments. On the one hand, the opinion is that being concerned about the issue is to hold on to things that are “internal,” as the creation and implementation depend on the processes that accompany the ritual in progress. The convention can only be understood by the Hindus in Bali, while those who are outside

210 Cultura. International Journal of Philosophy of Culture and Axiology 8(2)/2011: 209–222 the convention clearly regard the symbol as a visual object or “ordinary spectacle” which is purely beautiful and without meaning, so the orna- ment can be implemented in accordance with their own way. While, on the other hand, many people believe using the symbols in any other way is wrong because of “disobedience” against the underlying conventions. If viewed from the visual angle based on a semiotic approach, then the phenomenon is a mutilation of the structures of meaningful symbols and can cause “desecration” of and negative connotations for the values that still exist in the Hindu community in Bali. Discrepancy occurs and the meaning is obfuscated, especially for the generation heir to that tradition. Also, today’s product designs laced with these decorations seem to be “awkward” in their environment, and show pieces of symbols without meaning. This forms the non-contextual relation between signifier and signified because in the process of creating it does not refer to the narra- tive of an agreement made by his ancestors in the past.

DISCUSSION

The acculturation of the Hindu culture of Java with native Balinese indirectly became the spirit and inspiration for the growing proliferation of diverse types of traditional arts, including products of distinctively Bali- nese crafts, such as Bali decorations. According to the views of Hindus in Bali, the functions of these crafts products can be broadly grouped into three sections, namely craft products: (1) are sacred to the guardian, serving as ceremonial means loaded with symbolic meaning and considered sacred; (2) are used in rituals or bebali, serving to escort or “trim” and are also related to the series of ceremonies; (3) are “secular” or bali- balihan, serving as decoration only (Pindha, 1973: 4). This is also in accordance with Buchori’s view that, in general, Indonesian craft products can be grouped into four categories, namely craft products in the context of: (1) culture; (2) religion or belief; (3) folk craft; and (4) craftsmen and the designers of today (Buchori, 1990: 1). Based on this, in this paper what is meant by Bali traditional decoration is about the elements or parts that contain the values of the aesthetic, symbolic, philosophical, cosmological and sacred, is a product of craft as a result of work of the hands of the craftsmen in conventional, traditional and noble civilization, and is closely related to the beliefs of Hindus in Bali, despite being implemented in the profane designs of today.

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SYMBOLIC MEANING OF TRADITIONAL BALINESE ORNAMENTAL VARIETIES

Humans are often referred to as “symbolic creatures” because almost all activities in their daily lives, such as thinking, reading, communicating, feeling, attitude, work and so forth, from the past until now, cannot be separated from the symbolization activity. This is in accordance with the opinion expressed by Cassirer that the actions of all beings created by God, in facing the reality of life, are generally based on two systems, namely the acceptance and delivery systems (Cassirer 1944: 23–6). But people apart from these two systems also have the advantage of creating a communication system with a new dimension of reality to adjust to the environment, namely the ability to create a “symbolic system”. And this is used to mark a difference between humans and animals, so he states: “instead of defining man as an animal rationale. We should define him as an animal symbolicum” (Cassirer, 1944: 23–26). The term symbol is derived from the Greek word symballein (a verb form), which means to put together or estimate together; as a noun it means a comparison with something, meaning something should be as- sessed critically, because it is a sign that brings another sign. Symbols are signs that can lead to the subject understanding the object, associated with the meaning of denotatum and conotatum, based on generally accepted conventions within a particular culture. In connection with symbols, Ogden and Richards give two terms, namely reference (which contains content or concept as a reference) and referent (which contains perception, denotatum, “something” and so on, as a result of interpretation) (qtd. in Eco, 1979: 59). A symbol is a sign that implies participation. The relation of a symbol with the referent produced has absolutely no kinship natural meaning, so that symbol is dynamic, specific, subjective, an allusion and a figure of speech. The manifestation depends on the problems that are cultural, contextual, situational and conditional. Symbols are the guidelines to facilitate the introduction or appreciation of something in the middle of the diversity of human activities and natural events. Within it, the symbol contains the rules concerned with reason as the whole paradigm of life, conscious and subconscious, so the myths, fantasies, dreams and other abstract forms can be realized in the form of symbols.

212 Cultura. International Journal of Philosophy of Culture and Axiology 8(2)/2011: 209–222

The performance of the customary Hindu religious ceremonies in Bali, especially the rituals at the temple, generally utilizes a variety of traditional craft products. Apart from being decorative, these products are also created as means of communication, tools and ceremony, as well as to serve as symbols. Those symbols are realized and applied in accordance with the standards, which are based on a cultural convention that refers to the philosophical and cosmological teachings of Hindus in Bali, so in the products themselves is engraved an “ideology” of which the meaning is believed and serves as a tradition. Some examples of ornaments in the form of symbols and meanings associated with the philosophical and cosmological teachings of Hinduism in Bali can be perceived in the description below.

RELIEF ACINTYA

Characteristics: (1) Shape: generally made in the form of relief composed of human-like form without clothes. It has a standing posture (padasana) and the legs are in a position to move. Each joint, the head, the ears and the genitals contains Bajra. (2) Material: usually made of natural stone (stone rock) or gold. But now some use “print concrete” (a shaped mix- ture of cement and sand). (3) Colour: in accordance with the materials used (grey, black or yellow, gold and white). Function: Craft products are generally used as a permanent aesthetic element and at the same time as a symbol. It is applied to a holy building (pelinggih) in the form of Padmasana. Meaning, symbolic value, philosophy and cosmology: based on the Lontar Widhi Tatwa (old manuscripts) or the philosophy of God; Acintya means unthinkable and is one of the natures of God’s omnipotence. Also contained in the Lontar Wrhaspati Tattwa mentioned: Aprameya, Bhatara Paramasiwa tan pangen-pangen, ape hetu ri kadadinyan Ananta, tan pahingan, anirdesyam, that means Bhatara Paramašiwa or God really is in- conceivable (Aprameya) in mind, because it is inexhaustible or Ananta, and cannot be restricted or anirdesham. In connection with this matter, meaning not clear, then the yogiswara or holy men who are able to com- municate directly with God make nature iconography in the form of symbols by taking the form of a naked human and making the sex “unclear” or Ardhanareswari, symbolizing the nature of being free from worldly ties. The posture of the feet, walking or moving, means life

213 I Made Gede ARIMBAWA / Exploitation of Bali Traditional Symbols which is always dynamically moving. Meditation in the position of padasana or standing symbolizes the infinite nature of God’s graciousness and gives grace to His creation. Each joint, the head, the ears, the toes and the genitals are decorated with Bajra, symbolizing God’s energy in the form of pure light which radiates in all directions and give light or life to all His creation (Local Government of Bali, 1982/1983: 125).

GARUDA WISNU

Characteristics: (1) Shape: in general the form of Garuda Wisnu is composed of a fantasy-like bird. The body and limbs resemble a human, the feet are made like birds’ claws, and it is winged, dressed and crowned, with a beak, bulging eyes, pointed teeth and fangs. On the back is a statue of god Vishnu seated holding the Chakra. (2) Material: raw materials are used to make it, such as wood, brick, stony soil or natural stone. (3) Colour: according to the materials used, such as “black natural stone,” “grey stony soil” or red brick. Function: the craft product has a function as a symbol and decoration; it is usually applied at the back of Pelinggih Padmasana buildings. Meaning, symbolic value, philosophy and cosmology: in Sanskrit the word garuda is derived from the root word gri, meaning “swallow” (con- queror of dragons, has the power of magic to counteract the venom). In the embodiment as a symbol, is the vehicle of god Vishnu. Garuda is used as a symbol of the sun, while a dragon is a symbol of cosmic water and Vishnu is on both sides of the antagonist. The scene was very popu- lar in the episode of Ramayana and folktales and in its visual form is used as a means of worshipping by Hindus in India and Bali (Zimmer, 1946: 75). In Indonesia, Garuda is also used as a symbol or depiction of aspects of greatness of God. It is estimated to have been in practice since the middle of the 10th century. It can be seen in the typography of stamp remains with Garudamukha patterns, first used as a badge of the head of government King Blitung (808–910), who ruled in Central Java. Its use was developed and later used by King Jayabaya, King Kertajaya (the king who last ruled Kediri Kingdom), King Airlangga with his most famous relics of Garuda-ridden of god Vishnu and so on (Titib, 1995: 4). In Adi- parwa, a piece of literature written in Java said to be written during the reign of King Teguh Darmawangsa around the year 918 Saka (918 AD),

214 Cultura. International Journal of Philosophy of Culture and Axiology 8(2)/2011: 209–222 in the Kawi language, there is one episode that recounts the wonder or greatness of Garuda, as follows:

What does it shine? Garuda no other the mighty magic of a bird, the child of Bhagawan Kacyapa with the Winata. The shine is very good, and it is similar to my shine, said Sang Hyang Ageni to the gods. They were stunned and silent, all came forward and praised the Garuda and said: Hyang Garuda, you are sage, you are a great preacher, you are god, you are the ruler of all that flying, you are a king, your shine is like the sunlight. (Widiatmaja, 1958:51)

The next episode recounts the effort of Garuda to search for tirta amertha (holy water) saved by the gods on Mount Somaka. The tirta is later used as a requirement for freeing his mother (the Winata) from the slavery of Sang Kadru On the way to find tirta amertha, he encounters many obstacles, like the gods who carry weapons to attack and block him. But with its superpower none of the Garuda feathers are shaken by the weapons of the gods. Finally, the Garuda succeeds in taking the tirta amertha stored in mountain caves on the slope of Mount Somaka and flies it away into the sky. Immediately the god Vishnu approaches him and says that the tirta amertha should be returned. But the Garuda rejects this and tells the gods to ask for His grace. The story ends with the Garuda receiving the re- quest of god Vishnu to make it his vehicle and the tirta amertha is taken by the gods and the Winata was freed from slavery. In Bali, many literary works inspire the artists or the craftsmen of the past in the creation of products. Mythology about the grandeur or the magic figure of Garuda Wisnu served as an application of an aesthetic and Garuda Wisnu as a symbol of the greatness of God, is considered to contain the values of symbolic religious attachment as well as being sacred. In this regard, the Garuda Wisnu is applied to sacred buildings, such as Pelinggih Padmasana.

BHOMA

Characteristics: (1) Material: raw materials used to make these products are wood, brick, rocks, natural stone, etc. (2) Form: Bhoma is made in high relief which has been classified as kekarangan that is why it is called karang Bhoma. Karang Bhoma is stylization of a form of a giant head or punggalan. Embodiment is based on the story of Bhomantaka form. Dis-

215 I Made Gede ARIMBAWA / Exploitation of Bali Traditional Symbols tinctive features: big glaring eyes, on the right and left equipped with packed palms, back grounded with patra wangga, patra kakul-kakulan and patra punggel. (3) Colour: in line with the materials used, such as “black natural stone,” “grey stone” “brown wood” or red brick. Functions: the craft product is generally used as a symbol and at the same time as a decoration that is applied to the top of the kori agung or paduraksa niche, which is the first gate of a temple or a door that joins the second yard or madia mandala (middle yard) with the first yard or utama mandala – the holy yard of a temple (jeroan). Meaning, symbolic value, philosophy and cosmology: Bhoma means painting or carving in the form of a giant face or kala (Balinese) which is placed above the niche of the main gate of the temple or paduraksa (Teaching Office of Bali Province, 1978: 405). A Sanskrit dictionary explains that the word Bhoma is derived from the Sanskrit Bhauma, meaning connected with the earth, that which came out of the earth, or lived in the earth or soil (Monier, 1963: 776). Meanwhile, Covarrubias, in his book The Island of Bali, explains that Bhoma is a giant son of the earth, with creepy open eyes like a monster head, with mouth wide open, and teeth and tusks popping out (Covarrubias, 1972: 372). In Bali, Bhoma is the symbol of trees and is referred to as Banaspatiraja and is considered sacred. This view is in line with the belief that Banaspati is the king of bhuta, kala, dengen and tonya or supernatural creatures that occupy large trees, such as the kapuk tree, pole, kepuh and so forth. Bhoma mythology is in the ancient Javanese literature, such as kekawin Bhomantaka which narrates the birth of the Bhoma. It begins with the de- bate between god Brahma and god Vishnu with the supernatural powers they each possess. Suddenly there appears a commemorative crystal from the earth which rises into the sky. Perceiving this event, they are stunned and decide to find the end and the base of the “phallus.” God Brahma asks god Vishnu to seek the root and god Brahma with his superpower turns into a swallow bird, a black bird flying over to chase the end of the “phallus,” while god Vishnu transforms himself into a boar and digs the ground to find the base of the “phallus.” However, their efforts are in vain, because the base of the “phallus” has continued into the earth and the end continues to rise into the sky with an infinite boundary. In the search, god Vishnu meets Wasundari goddess (the goddess of the earth). In the meeting there are eventually intertwined relationships from which she

216 Cultura. International Journal of Philosophy of Culture and Axiology 8(2)/2011: 209–222 gives birth to a son who was named Naraka or Bhoma (Lontar Bhomantaka, Blade 5b, Box V.b). Zimmer, in his book Myths and Symbols in Indian Art of Civilization, pre- sents Bhoma as a result of the decapitation of the giant head named Rau by god Vishnu, because the giant was known to drink tirta amertha. But when beheaded the tirta amertha has not reached the throat, so the head remains alive while his body parts directly come to death. The head of the giant gets wrathful and damages and disrupts the activities of the gods in heaven. Seeing the incident, eventually god Shiva became very angry, and so appears an incredible creature called Ghora Shiva Murti from His Ajna Chakra or forehead – described as something very terrible and horrible. Rau is eventually eaten by the giant creature. But the creature that was created has a greedy nature and eats just about anything he encounters and is highly subject to the orders of god Shiva. Finally god Shiva orders him to eat his own flesh. The command is immediately carried out. He begins to eat the feet, hands and body, until the part below the neck and only the neck and head are left. The creature goes back to ask what else it should do. Because of its compliance, the god Shiva gives it the task to guard the palace of Shiva, and to swallow, destroy and reject the evil thoughts that destroy the sanctity of god Shiva’s palace. The giant head is given the name Kirttimukha and placed on threshold of the main gate. At that time god Shiva said: “Whoever goes into the temple without worshipping you, they will not get my blessing” (Zimmer, 1946: 175–178). Based on these three examples, it turns out that the aesthetic elements of traditional Balinese symbols, besides containing the value of beauty, which is also a symbolic meaning based on the teachings of Hinduism in Bali, narrate the greatness or glory of God. Therefore, the implementation of aesthetic elements must not be arbitrary, but must be guided by the conventions of the past and accompanied by a procession of Hindu rituals in accordance with the customs in Bali.

THE IMPLEMENTATION OF BALI TRADITIONAL SYMBOLS IN TODAY’S DESIGN

In the implementation of the traditional symbols in contemporary design, many designers do not know or deliberately ignore the symbolic meanings they contain. Many traditional aesthetic elements belonging to

217 I Made Gede ARIMBAWA / Exploitation of Bali Traditional Symbols craft products for wali and are used as symbols in Hindu religious rites in Bali and are considered sacred. But they now appear to be exploited and “mutilated” and simply implemented on objects that are profane, with the priority being visual beauty or merely financial effect. These designers are motivated by various desires, such as wanting to create ethnic designs, wanting to create a traditional Balinese atmosphere and so forth. In that issue there is some attraction between two things that give the opposite effect or a dichotomy. To overcome this problem, local knowl- edge is needed. Some examples of the implementation of the traditional symbols of Bali can be seen, as follows.

IMPLEMENTATION OF SYMBOLS IN TODAY’S DESIGNS

Acintya symbols are now widely mutilated, exploited and implemented in a profane way, for example, they are applied as a decoration in the form of reliefs on the cliff near the cemetery and visualized in the form of sculpture to decorate a crossroads. Many Karang Bhoma are now being implemented in improper places, such as being applied as aesthetic elements to the façade of shops, homes and offices or applied as a body decoration in the form of a tattoo. Garuda Wisnu is implemented in places that are profane in nature, for example, applied to the façade of a bank and combined with the logo of the bank; Garuda Wisnu is also applied to the façade of a shoe store and in its application it is combined with the logo of the shoe store. The semiotic approach model “intertextuality,” which was developed by Julia Kristeva, a French post-structuralist thinker, is relevant here. In the book Desire in Language: A Semiotic Approach to Literature and Art, Kristeva explains that the term intertextuality is the process of protection or it is termed a “transposition” from one sign system into another sign system. In this regard, the dimensions of space and time in text analysis or product design become important. Text or symbols are always made in a concrete time and space. Therefore, one symbol and another symbol cross each other within a certain span of time and so there must be a relationship between them (Kristeva, 1979: 36). Thus, in the implementation of traditional decorative form of symbols associated with the teachings of Hinduism in Bali, we should be more careful. Implementation of symbols, such as the Garuda Wisnu, Acintya, Karang Bhoma and so forth, with the convention that has been established, with a signifier or new

218 Cultura. International Journal of Philosophy of Culture and Axiology 8(2)/2011: 209–222 meaning that is less clear, will result in a transition of the sign system; such a transition can have a negative effect on a system of signs or symbols or “destroy” the structure of the previous meaning of the symbols. For example, it can lead to “deletion,” “blurring,” or “punning” part of the symbol of a sign system which becomes the reference. In the case of reliefs of Garuda Wisnu, it is an implementation that should be applied on the rear of Padmasana but is now being exploited, mutilated and applied as a decorative façade of a “profane building”. On the façade of the Regional Development Bank it can be seen the logos placed above the symbols of Garuda Wisnu. There is not any unified meaningful relationship between the two symbols. Each sign or symbol implies its own meaning. Garuda Wisnu symbols lose their meaning in this situation because it does not develop the relationship between the signs and creates negative connotations because of the discrepancy between the actual sign with the signified. The symbol of the Garuda Wisnu is associated with the teachings of Hinduism, and is regarded as a symbol of the greatness of God in its manifestation as the god Vishnu; but as it is placed on this façade under the logo of the Regional Development Bank it tends to give a connotation about money, which is secular. The placement is “just installed” and is only driven by simply a preference for “shelf art,” without thinking more about the relationship formed by placement of the symbol and logo. Expansion has occurred in the use of symbols and the breeding of infinite sign conventions to achieve pleasure, prestige, image, nostalgia, appointments and so on without realizing that placement brings connotations of meaning leads to a negative interpretation. It implies the appreciation of worldly values (money and in- vestments), and pleasure and enjoyment (hedonism) is higher than the value associated with the divine teachings. It disrupts the stability between the signifier with a well-established signified, because there is a “mutilation” of symbol structures. It formalizes pieces of blended signs with signifiers that are not clear or “dead.” Interpretation of the meaning becomes complicated and misleading because visually it is more difficult to distinguish between the sacred symbols and the profane form. The designs or products created by the exploitation of traditional symbols sometimes appear “depressed,” “forced,” excessive and redundant, and there are no intertwined relationships of meaning between the signs or symbols that are applied. Products that are created are often seen as less consistent, less harmonious and imbalanced. In fact, con-

219 I Made Gede ARIMBAWA / Exploitation of Bali Traditional Symbols temporary designers frequently give birth to products that are pastiche, parody, kitsch or camp (Yasraf, 1994: 106). As an example, the application of traditional symbols can be observed in the form of Garuda relief on a shoe store brick façade. In the decoration a Garuda-shaped symbol can be seen that imitates the form of Garuda Wisnu and the presentation is accompanied by the symbol of the god Vishnu. The Garuda’s “hand” is made to point to the logo Bata shoe and the placement positions of both elements are aligned horizontally. In appearance, it looks like a fragment which is formed from the combination of two elements of the sign, between the fragments of the symbol and the logo itself. They have absolutely no relationship in terms of meaning. The concept of the design is simply based on the pretence of creating a Balinese traditionally nuanced building. They take the meaning of the Garuda symbol, well-established in the lives of Hindus in Bali, simply to show the Bata brand shoe logo or with the purpose of building an imitation or kitsch image; this is in order to build the confidence of consumers by implying that the Bata shoe label is well-known, strong and so on, to the extent that the sacred Garuda symbol of Hindus in Bali is “pictured” to give clues about its su- periority. This imitation and blend can be said to be a product of parody, because the choice and its application is a “punning” of the actual meaning of Garuda. The narration has an ironic and critical nature in the sense that it plays down the great meaning embodied in the symbol of Garuda itself. Besides this, it is also a pastiche product, as a result of the prepara- tion of elements of the past that gave birth to a false sign on a building with negative connotations. The symbol that is sacred and associated with the phylosophy teachings of Hindu religion, now “tricked,”– the combined with other signs or logos – and it is exploited just to show one of the shoes brand. It is also a camp product, because of its appearance shows recycling of the form Garuda which is one of the sacred Hindu symbol compare with logo of shoes as the sign of feet that it means the lowest part of our body. It is a misuse against symbols that are still believed by Hindus in Bali. Likewise, the exploitation of other traditional Balinese symbols makes them more ambiguous and it will become difficult to distinguish between sacred symbols and the profane, especially for the successors of the tradition. This use can also threaten the preservation of Balinese culture and art.

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CONCLUSION

Based on the previous discussions, it can be concluded that the efforts of the designers or developers to create a traditional Balinese atmosphere are to attract tourists. Many of them do it by implementing Balinese traditional decorations in contemporary designs. But, in these efforts, exploitation of a symbol associated with the teachings of Hinduism in Bali often happens. A sacred symbol is often mutilated and applied in an improper place or product. Implementation of these could unwittingly create a negative impact, both on the meaning of symbols contained in Balinese traditional decorations and on their application in today’s designs. Semiotically, such use of Balinese traditional decorative symbols can terminate the established meaning, desecrate the meaning and so forth, while the products of today look “clumsy,” “depressed,” “forced,” excessive and redundant, and create a product design that is pastiche, a parody, kitsch or camp. To avoid this problem, the attitude of the designers or developers should create a tradition of product innovation and make this a spirit of motivation in their work. They need to find out why earlier ancestors with various limi- tations could create products that have high values and noble civilization.

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Notes 1Translated by I Nyoman Sedeng.

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