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The Gods & the Forge

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The Gods & the Forge ificah International Foundation of Indonesian Culture and Asian Heritage The Gods & the Forge Balinese Ceremonial Blades The Gods & the Forge in a Cultural Context This publication is the companion volume for the exhibition of the same name at the IFICAH Museum of Asian Culture in Hollenstedt-Wohlesbostel, Germany December 2015 to October 2016. Title number IFICAH V01E © IFICAH, International Foundation of Indonesian Culture and Asian Heritage Text: Dr. Achim Weihrauch, Efringen-Kirchen, Germany Dr. Udo Kloubert, Erkrath, Germany Adni Aljunied, Singapore Photography: Günther Heckmann, Hollenstedt, Germany Printing: Digital Repro Druck GmbH, Ostfildern, Germany Layout: S&K Kommunikation, Osnabrück, Germany Editing: Kerstin Thierschmidt, Düsseldorf, Germany Image editing: Concept 33, Ostfildern, Germany Exhibition design: IFICAH Display cases: Glaserei Ahlgrim, Zeven, Germany "Tradition is not holding onto the ashes, Metallbau Stamer, Grauen, Germany Conservation care: but the passing on of the flame." Daniela Heckmann, Hollenstedt, Germany Thomas Moore (1477–1535) Translation: Comlogos, Fellbach, Germany 04 05 Foreword Summer 2015. Ketut, a native of Bali, picks me Years earlier, the fishermen had sold the land up on an ancient motorcycle. With our feet bordering the beach to Western estate agents, clad in nothing more resilient than sandals, we which meant however that they can now no ride along streets barely worthy of the name longer access the sea with their boats ... to the hinterland. We meet people from dif- ferent generations who live in impoverished It is precisely these experiences that underline conditions by western standards and who wel- the urgency of the work carried out by IFICAH – come the "giants from the West" with typi- International Foundation of Indonesian Culture cal Balinese warmth. Ketut introduces me to and Asian Heritage. At the beginning of the some of them, including his father. We drink 21st century, the preservation of culture, social very strong, sweet coffee and wait for the only structures, objects, and traditions in many areas person in the village with the right to open of the world – - even here in the "saturated the holy shrine and handle the ritual objects West" – is fading increasingly into the back- stored therein. Together we go to a small hut ground. But these are exactly the structures and squeeze our way through a narrow pas- that form a basis for a society with which future sageway to a wooden door. The door opens generations can also identify. Communicating and we proceed barefoot, entering a room lit with one another, showing mutual respect, or only by a weak bulb. Everything is covered in a perhaps just drinking a far-too-sweet coffee to- thick layer of dust. Cobwebs entwine the ob- gether and smiling at each other: small inter- jects and paintings. There is a strong smell of cultural encounters and small steps towards incense, herbs, and soot. After a short ceremo- open co-operation on a global scale. ny, the shrine is opened. With great pride and deeply shining eyes, I am shown the broken, By presenting objects with accompanying texts, holy lance tip, which has protected the village the exhibition "The Gods & the Forge – Balinese and its inhabitants for many generations. A Ceremonial Blades in a Cultural Context" repre- group of children and teenagers stand behind sents one such step towards bringing an often me, watching curiously as I record events with unknown or forgotten culture and its handi- my camera. craft skills to a wider audience. When we are all sitting in the village square, Günther Heckmann Ketut explains to me that the objects from the IFICAH Executive Board Director shrine in the village where he lives with his fam- ily were sold because there was no longer any- body who could carry out the ceremonies, and because all the young people are leaving this rural area. Pusaka in North Bali 06 07 Bali ... ... even in the age of mass tourism, there is a forms that go into their creation that they were certain fascination associated with this name. recognised by UNESCO as Masterpieces of the Clichés that spring to mind may initially conjure Oral and Intangible Heritage of Humanity. up images of – the "ultimate paradise", with The empu, or blacksmith (literally, "trained, palm trees swaying in the breeze, smouldering skilled one"), was a master of the secret knowl- volcanoes, graceful dancers, a mysterious an- edge that was required to create the dagger im- cient culture, full of gods and demons … bued with magic. The handing down of a keris from one generation to the next reinforced the Bali is a relatively small island amidst the vast esoteric powers of the blade, which embodied Indonesian archipelago, and has preserved and the ancestors. If the keris was in harmony with kept alive its ancient Hindu-Balinese heritage the user's character and occupation, then it throughout all periods of turmoil. Although possessed an inherent power that constituted westernisation is also taking hold there, many a spiritual and material enhancement of the aspects of the everyday life of the Balinese are person's own ego. At the same time, the keris still governed by old traditions. To this day, symbolised the equilibrium between the upper when you stroll through a village, you can still world and the lower world. It had a wide-rang- see offerings everywhere that serve to secure ing social and hierarchical significance and, the goodwill of earthly spirits and agricultural just like the imperial swords associated with deities. Processions, music, ritual dances, and European royal families and imperial dynasties, other social activities are ubiquitous, and not the ownership of certain kerises guaranteed a just in the tourist hotels. They are a continuous ruler's legitimacy. expression and reminder of the complex social systems that play an important role in the Ba- The International Foundation of Indonesian linese way of life. Culture and Asian Heritage – IFICAH is for the first time exhibiting a range of important Ba- On Bali, which only became part of the Dutch linese works of art from private collections as colonial empire briefly at the start of the 20th part of the current exhibition at its own muse- century, the legacy of the powerful Hindu em- um. In so doing, it is our intention to introduce pire of Java that fell into decline during the to a European (and international) audience the 16th century was continued at the royal courts. outstanding artistic and symbolic quality and Exquisite batik fabrics, the wayang - a form the importance of a category of objects that of theatrical dance performed by people with has not received sufficient recognition to date, shadow figures and puppets - and the cer- and which embodies a history and culture that emonial keris [or kris] daggers are particularly stretches back for centuries. revered art forms, just as they are on Java. In- deed, the latter are so unique in terms of the Dr. Udo Kloubert diversity of their uses and meanings, and art Advisory Board IFICAH 08 09 Introduction The keris is more than the sum of its parts, and tious or modest? What are his tastes and his vast numbers of kerises in existence. Each one more than the materials – steel and iron, wood, professional ambitions, or what prospects does of these daggers embodies a particular person ivory, gold and silver, etc. – from which it is he have in this regard? There are also questions and an important time in a person's life. In this fashioned. It is not intended solely for warriors relating to his physique, which in turn will help case, it is not so much one's expectations of or another privileged class of society, as is the determine the size of the keris ... The potential one's keris that are important, but rather which case for many traditional object categories, but fighting strength of the blade plays no role in of the characteristics of the keris suit the cur- is known and carried by all people within its this case. It's power is determined primarily by rent circumstances of the owner's life. In this area of circulation – be they farmers, fishermen, the physical build of its future owner (and for- regard, selecting an older keris is considered lawyers, teachers, dancers, men and women of merly, by his social standing). just as important as having a new one made. all generations. Even if it no longer performs a practical function (i.e. as a stabbing weapon Therefore, the empu will forge a keris that This brings us to the final step in the "life" of a of last resort in an emergency), it nevertheless suits the young man in this special stage of keris – namely, its inheritance by the heirs. For remains indispensable in a whole range of sig- his life. However, a man will not possess just instance, a grandfather who owns several ker- nificant areas, and has always been considered this single first keris in his life (assuming that ises, each of which embodies important phases far more than just a weapon. he has sufficient wealth). Once he reaches a of his life, will pass them on to his grandchil- marriageable age (traditionally, when he is 18 dren in such a way that they suit their respec- Receiving one's own keris is an important step in or 19 years old), he will usually order another tive personalities and circumstances. Therefore, a person's life. Under what circumstances does keris in preparation for his upcoming wedding the fortunate heir will not only see himself and someone commission a keris? First and fore- ceremony and will seek out an empu himself. his circumstances reflected and "immortalised" most, a father is under an obligation to com- This keris will also not be his last; important in this keris, but also his ancestors, when they mission a keris (assuming he can afford one) and long-term plans and duties – be it as a were young and in similar situations.
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