Vol. 3 No. 2 October 2019

SASOLAHAN SANGHYANG ONCESRAWA AT PENATARAN SASIH TEMPLE, DESA PAKRAMAN PEJENG TAMPAKSIRING DISTRICT, GIANYAR REGENCY

By: I Nyoman Linggih Institut Hindu Negeri Denpasar E-mail : [email protected]

Received: July 24, 2019 Accepted: September 28, 2019 Published: October 31, 2019

Abstract

The Sanghyang Oncesrawa dance is not just a mere spectacle dance, this dance is in a state of unconsciousness, dancing on a burning fire and even though there are no signs of burning the body parts of the dancers. This dance is not a show or show off strength. The Sanghyang Oncesrawa dance is motivated by the loss of a beloved horse, the king of , namely Sri Gajah Waktera with the title Sri Asta Sura Ratna Bumi Banten, a white hairy horse with a very powerful black tail named kuda oncesrawa. King Bedahulu's favorite horses disappeared and never came again. To commemorate the horse named Oncesrawa, the Sanghyang Oncesrawa Dance was performed in the Sasih Penataran Temple. This dance is classified as the art of sacred dance and when dancing mattress, moves agile (dangkrik- dingkrik = Balinese language) like horse movements. The research was conducted to multiply, raise, explore, socialize, religious dances, especially the Sanghyang Oncesrawa Dance, which so far still many people do not understand correctly. Qualitative research was carried out in the Sasih Penataran Temple through a cultural approach with data sources from figures, dance artists, pemangku, serati, library and photos. The results of the research analysis showed that the Sanghyang Oncersrawa dance is a sacred dance that is only danced on piodalan / large ceremonies (Ngusaba Nyatur), dances on coals in a trance state, bringing pratima / arca / pralingga of Sanghyang Oncesrawa, dances in a row while kicking a burning fire. The Sanghyang Oncesrawa dance has a function, namely; religious, sanctification, social and aesthetic. Sanghyang Oncesrawa dance has religious, sanctification, social, and aesthetic meaning.

Keywords: Dance and Sanghyang Oncesrawa

191 Vol. 3 No. 2 Oct. 2019 I. INTRODUCTION methodology interactions or art criticism Bandem asserted, in Bali there were (Endraswara, 2008: 252). So the approach almost no religious ceremonies that were taken was theological and social humanist, finished without participating in the dance with the technique of "Random Sampling" performance (in Yasa, 2018: 1). One dance (randomly) where the subject to be that is closely related to the ceremony is the investigated consists of a number of Sanghyang Oncesrawa Dance. The individuals representing a larger number, Sanghyang Oncesrawa dance is classified as randomly selected. The object of research in a Wali (sacral) dance, when the dancer is this case was people who are seen to know unconscious, dances on a burning fire and and understand about the Sanghyang there is no sign of burning any part of the Oncesrawa Dance in the Penataran Sasih body of the dancers. This dance is not a show Temple. In this study used several data or show off strength. The Sanghyang collection techniques such as: (1) Oncesrawa dance is only found in the Observation, (2) Interview (Interview); and Penataran Sasih Temple. According to Gusti (3) Documentation; and (4) This study Niyang Mangku (interview, 11 June 2017) carried out various actions such as intensive said Ida Betara only danced when a large data extraction, data categorization, data ceremony was held, and even then if He compilation, data interpretation (interpretive wanted (Betara mekayunan = Balinese), and qualitative), namely interpretation using if He was not pleased, even though the knowledge, ideas, and concepts that ceremony was great, Sanghyang Oncesrawa researchers understood related to the would not dance. This phenomenon is problems examined. believed by the public, that the dancers conceded (spirit) and danced III. RESULT AND DISCUSSION according to the character of the spirit that Sasolahan (Dance) Sanghyang possessed him. Oncesrawa can be described on several This study aimed to describes, analyzes, concepts, namely; Solah, which is from the socializes, and preserves the Sanghyang basic Balinese word, that is, solah has Oncesrawa Dance as a religious dance art several meanings, including; laksana = that is the increasingly fading dance. This behavior, and igel or dance (Simpen, 1985: study used several theories namely; Theory 207). From the basic word solah, it of Functional Structuralism by Claude Levi- developed into several forms of word Strauss (in Sutrisno, 2005: 125). Theory of modification, namely masolah which means Symbolic Meanings by; Koentjaraningrat, ngigel or dancing, nyolahang which means 1990: 235, Pelly, 1994: 5-6, and Sutrisno, acting, and sasolah, which means 2005: 125. It is expected that the results of performing. Another view states, that solah this study can provide positive added value is behavior, character, ne melah nyandang to the knowledge of supporting communities, tulad = good behavior should be imitated. as well as the wider community, especially in Masolah = behave; Melah = behave well. So the development of IPTEKS (science masolah = dancing; Ida ring RRI, which knowledge, technology, and art); means He dances on RRI. Nyolahang = furthermore, as a guideline for subsequent dancing, so sesolahang is a way of dancing a academics. dance (Warna, 1978: 662). In the Indonesian Old Javanese Dictionary, Sasolah is behavior II. METHOD (Zoetmulder, 2006: 1113). Sasolahan is This study was a qualitative research, reaffirmed, "Motion as the raw material for with a culture-oriented approach to the Sasolahan is a reflection of the movements foundation of thinking to understand a in the human psyche, in other words motion meaning, which includes phenomenological is used by humans as the main important tool symptoms, symbolic, cultural, ethno- to express their desires" (Soedarsono, 1977:

192 Vol. 3 No. 2 Oct. 2019 2). So Sasolahan is a spontaneous reflection Pejeng that, "Oncesrawa" relates to the name of movements that exist in the human soul, of the horse owned by the King of Ancient this implies that these movements occur Bali (Ruma, interview, 6 August 2017). So suddenly without realizing it by the dancer, "Sasolahan (Dance) Sanghyang Oncesrawa" therefore the movement is subconscious. is a Sanghyang dance called Sanghyang Such movements are referred to as the dance Oncesrawa, danced by a number of dancers of Ida Betara / Ida Betara Masolah. in a trance state that is only danced at Sasolahan of Ida Betara (sacred dance) is a Penataran Sasih Temple, Pejeng, Tampak dance whose dancers are unconscious. Siring, Gianyar. Sanghyang Oncesrawa can be This study was qualitative research, divided into two words, namely; Sanghyang by Endraswara, 2008: 252 with a cultural and Oncesrawa. Sanghyang comes from the approach oriented to the foundation of word "Sang" which means "Lingga" as for thinking to understand a meaning, including mentioning "Sang Bhima", "Sang Arjuna", phenomenological symptoms, symbolic, and others. The word "Sang" also means cultural, ethno-methodology or artistic "Jajeneng Kasta Prasanghyang". "Hyang" interactions, with data collection techniques means "God" or "He" 2010: 497). So, such as: (1) Observation, (2) Interviews; and "Sanghyang" can be interpreted as "the name (3) Documentation; and (4) Literature. or identity of God in the manifestation of "Him". The word "Sang Hyang" is "the IV. FORMS OF SASOLAHAN article for God and its manifestations; for SANGHYANG ONCESRAWA example: Sang Hyang Widhi, Sang Hyang 1. History of Sasolahan Sanghyang . While the word "Sangiang" can be Oncesrawa interpreted as "the sacred dance that dancer As a reflection of this description, it possesed while dancing on fire", such as: is necessary to say a little about mythology sangiang dedari, sangiang jaran (Warna, of the Sanghyang Oncesrawa Dance in 1991: 606). piodalan at Pura Panataran Sasih, Pejeng "... Sanghyang is one of Bali’s Wali arts, and Village. It is said that in Bali there was a is a cultural heritage of the Para-. king named Sri Gajah Waktera (Dalem Unlike other dances, Sanghyang is held at Bedaulu), with the title Sri Astasura Ratna certain times and cannot be done by other Bumi Banten who was said to be a brave and people who are not Sanghyang family. very powerful person. Sanghyang, which is only shown when The king had a favorite horse named needed, especially during outbreaks of Oncesrawa which was considered to be disease, is usually staged a month later, magic. It had white fur with a black tail that waiting until the outbreak of the disease reaches the ground long. Sri Gajah Waktera disappears. After the disease is eradicated, released the horse Oncesrawa, each area then Sanghyang is not shown again, up to a passed by the horse no one dared to disturb year then (Bandem, 1982: 124). him, then the area was under the king’s Bandem emphasized again that control. Kerawuhan Sasolahan Sanghyang can be The long-awaited horse Oncesrawa achieved by deception, inhaling frankincense did not return and was considered lost. Sri smoke, singing Gending Sanghyang, Gajah Waktera sent all his people to look for Sanghyang performances are very diverse, the horse. Finally Ki Tunjung Biru lived in each has an element of improvisation in Tenganan, managed to find the Oncesrawa accordance with the culture that developed horse on a hillside east of the village of around it (Bandem, 1996: 8) while Tenganan now but was already dead. The "Oncesrawa" is "the name of a flying horse area where the Oncesrawa horse was found (in fairy tales)" (Warna, 1991: 476). In the is now known as "Jaran Batu". To developing folklore in the community of commemorate the Kuda Oncesrawa,

193 Vol. 3 No. 2 Oct. 2019 Sanghyang Oncesrawa Dance was held. c. Ngantukan Sanghyang Oncesrawa (Karianto and Pleret, interview, 10 June The end of the Sanghyang Oncesrawa 2017). Dancing procession was marked by the dancers entering the Arca of Sanghyang 2. Procession of Sanghyang Oncesrawa Oncesrawa into Sangku or place of holy The Sanghyang Oncesrawa staging water that had been provided. The Singers procession begins with the mapekeling, will sing the song of pengluhur. Jero Nedunang, and Ngantukang processes. Mangku will sprinkle or holy water to (Desak Niang Ayu, interview, June 18, Prelingga Sanghyang Oncesrawa. It is strung 2017). together by sprinkling Tirtha to the trance a. Matur Pakeling dancers until he is awake, and finally Starting from the mapekeling process continued by mesineb ceremony. This event on the Palinggih Padma Kurung which is is accompanied by offering the banten located in the jeroan of Pura Panataran pangeluhur by Jero Mangku. Sasih, which is led by Jero Mangku by doing worship, the process is continued to carry out 3. Tools of Sasolahan Sanghyang a purification process or ngiasin Sanghyang Oncesrawa Oncesrawa Dance. After the offerings have The tools or equipment used in the all been carried out, then continue with Sasolahan Sanghyang Oncesrawa include: Nusdus Arca Sanghyang Oncesrawa (Putra Horse head masks, palm leaves, penyalin, Pemayun, interview, 11 June 2017). gongseng, coconut shells, tirta, flowers, and banten or offerings. b. Nedunan Sasolahan Sanghyang Oncesrawa 4. Song of Sasolahan Sanghyang Nudus procession begins with the cak Oncesrawa dance. Cak dance in a circle while releasing the words "cak cak cak cak" in greetings. a. The Song of Nusdus or Nuntun While waiting for the Sanghyang Oncesrawa The song that is sung during Sasolahan Dancing nadi or trance, the Cak Dance and Sanghyang Oncesrawa performance as sanghyang singing continue to be sung. follows: Likewise the composer will sing the song of Kukus Arum nurunan through penudusan stage. Arca Kukus arum Sanghyang Oncesrawa is smoked with Gandane dupa mirik sumirit pasepan. Singers or composers repeat Sembar wangi ring kasore Sanghyang Oncesrawa dance songs aiming Jebug arum saking tawang to invite the spirits of the gods and Ya saking tawang widyadara widyadari or Angels to descend Kaselir, kesir-kesir angin from the heaven. Not long after the Rawuh maring kadewatan Sasolahan Sanghyang Oncesrawa danced Juru nadi oncer sarwa unconsciously or Kasurupan, as can be seen Ya oncer sarwa in the photo below. Ya luwih goban nyane becik Photo Sanghyang Oncesrawa is dancing Penganggene sarwa luwih Ambra murub pakuranyab.

After the song is sung then, the Sanghyang Oncesrawa got up while prancing up and down, trod on, or bathed the embers running like the movements of a horse.

194 Vol. 3 No. 2 Oct. 2019 b. The Song of Mesolah The example of the song that is used for nyolahang Sanghyang Oncesraw, is as follows: Jaran Putih Kasireg tumbragin banyu Ikang banyu nunas ica Tepuk api keceburin Macan rakrik, bangun ngelur makekipu Makeskesan jalan mula Ijarin malabuh geni PhotoCak Dance and Gending Sanghyang as Singa warak the Accompaniment of Sasolahan Gajah lembune macan rakrik, Sanghyang Oncesrawa on piodalan at bangun ngelur makekipu Penataran Sasih Temple Makeskesan jalan mula Ijaran malabuh geni. 5. Function Of Sasolahan Sang Hyang Onceswara c. The Song of Ngantukan or Ngeluhuran a. Religious Function The end of the procession of Masolah Koentjaraningrat (1987: 57), states Sanghyang Oncesrawa is marked by the that religious and religious ceremonies are an dancers entering the Sanghyang Oncesrawa important element for social life. The statue into the sangku or place of holy water religious aspect is an important aspect of that had been provided. Juru Gending will human life starting from the human belief in sing the song of pengluhur. The song for the power that is outside the human self, as Ngantukan or Ngeluhuran Sanghyang well as the supernatural power. Besides that Oncesrawa is: religion begins, when humans are fascinated Gending Panyineb by magical powers and there is an interest in Ketut-ketut Nyoman bangun uniting with the unseen. Madingehang munyin sulinge di jaba Moreover, in the book of Kenken-kenken munyin sulinge di jaba Bhagavdgita it is expressly stated that Sang Rindit-rindit gegupekan metimpal Hyang Widhi Wasa is supernatural and that kempul occultation is God Himself, as in the Nyen kal orta mengupekin following verse: Ngurah Agung uli dijero pemecutan Avinasi tu tad viddhi yena sarvam idam tatam, 5. Music or Accompaniment in Vinasam avyayasya na kascit kartum Sasolahan Sanghyang Oncesrawa. aharti. On Sasolahan Sanghyang (Bhagavadgita.II.17) Oncesrawa, there is no musical instrument used. All processions from beginning to end Translation: are only accompanied by Cak Dance and Know that I am Supernatural and that sanghyang song, can be seen in the all of this cannot be destroyed. photo below Against this eternal existence, no one can destroy it (Radhakrishnan, 2010: 129).

The verse in the Bhagavadgita mentioned above provides an understanding that the supernatural power is Sang Hyang

195 Vol. 3 No. 2 Oct. 2019 Widhi Wasa and that power cannot be positive forces. Based on this, it is very destroyed. In other words this supernatural important to trace or understand the power power is eternal. Besides that occultation is through the Sasolahan Shangyang one of the aspects of Sang Hyang Widhi Oncesrawa, so Bhuwana Agung and Wasa, mentioned in Tattwajñana as follows: Bhuwana Alit becomebalance. According to ... Atmikatattwa is Sadasiwatattwa Putra Pamayun (interview, August 6, 2017), who is "Utaprota" in Mayatattwa during the Sanghyang Oncesrawa dance in (Acetana). Uta means God is Penataran Sasih Temple, the dance supernatural in Mayatattwa like fire movements followed the natural rhythm, in wood. Prota means that God is like while bathed in fire. The dancers who are in a brilliant gem in Mayatattwa, ... trance of Sanghyang Oncesrawa while (Tim Penyusun, 2005: 18). wagging their tails made from ambu. It is much believed by the local community as a Likewise, Sasolahan Sanghyang negative power neutralizer towards balance. Oncesrawa on piodalan in Penataran Sasih Temple, Pejeng Village is very close to the c. Social Function supernatural power. According to Desak Humans are actually social beings Niang Made Ayu (interview, August 6, who cannot live alone. Social interaction is 2017), at the time of Sasolahan Sanghyang needed by humans so that humans can live, Oncesrawa didusdus, the dancers will feel because humans live need each other and that there is a great power penetrating into depend on each other. Not only to human them, and immediately the people around beings, but also to human nature, humans are them appear small. interdependent, because humans will not be able to live without nature and vice versa. b. Purification Function Many fields of activity can show and In human beings or Bhuwana Alit, establish good social relations, especially in there are two forces, these two forces always Bali where there are many activities that can exist and are side by side; therefore, it is very create a sense of social solidarity. Bali itself important to balance these two dimensions of is known as a customary system called power towards balance or harmonization. Pakraman Village, of course, as a place of The negative forces that dominate Bhuwana social interaction between Krama Bali or Agung and Bhuwana Alit will not cause and as Hindu detention balance. This imbalance will have (Atmaja, 2010: 196). implications for the emergence of various All activities especially religious diseases (merana). Describing Samkya activities are always carried out within the Darsana's disease states that there are three scope of Pakraman Village which causes sources of illness that bring suffering, harmony between Balinese Hindu namely: communities. As Wiana said (2004: 78), that Adhyatmika, namely suffering caused Hindu social harmony in Bali cannot be by viruses, germs and the like. separated from religious activities carried out Adhidaivika, which is a disease that in every village on the basis of the teachings comes from nature, weather and of . Based on this, many religious others. activities in Bali have a function as a Adhibauthika, which is a disease that medium in fostering social harmony. comes by animals and that emerges from birth (Sivananda, 2003: 193). d. Aesthetics Function Djelantik (1999: 9), states that The three diseases that have aesthetics is a science that studies everything implications for suffering are the result of the related to beauty, learns all aspects of what is imbalance between the two negative and called beauty. Art can only be understood in

196 Vol. 3 No. 2 Oct. 2019 terms of the social meaning contained in it Photo Sasolahan Sanghyang Oncesrawa (Gie, 1996: 38). Donder (2005: 33), while dancing on coals aesthetics can be interpreted as a beauty that stimulates and encourages people to be creative and be dynamic to achieve inner satisfaction and sharpen their intuition. Whatever language is given by experts, almost everything leads to a discourse concerning the sense of beauty that makes us happy, amazed, fascinated, excited, and excited. Bandem (1996: 18). Hindu aesthetics is essentially a perspective on beauty (lango) which is (Documentation 2016) bound by Hindu values based on the teachings of the Vedic scriptures. There are a 6. Meaning Of Sasolahan Sanghyang number of concepts that might be an Oncesrawa important foundation of Hindu aesthetics. The meaning implied cannot be The concepts in question include the concept separated from the teachings of Hinduism of chastity, the concept of truth, and the which is known to have elasticity which concept of balance. In Hinduism it is called always emphasizes the meaning of Tattwa the term Three Wisesa, namely: which includes religious, sanctification, a.Sivam (The concept of purity) is social, and aesthetic meanings. essentially concerned with divine values a. Religious Meaning which also include and taksu. The religious meaning in the b.Satyam (truth) includes the value of Sanghyang Oncesrawa dance is very honesty and sincerity. In accordance with the important first to understand the terminology teachings of Hinduism, offerings and yajña of religion that is identical to tattwa in carried out by the Hindu community should Hinduism. According to Subagiasta (2007: be carried out with full honesty, sincerity, 6), Tattwa derives from the word Tat which and sincere intention. means essence, truth, reality, essence of c.Sundaram (Beauty), which is in the context teachings, and the word Twa means nature. of a special theory (local theory) as described So, the word Tattwa is the essence or truth, above, then new aesthetic satisfaction will be an element both real and unreal or the fulfilled if there has been harmony essence of Hyang Widhi. Nurkancana (2005: (Djelantik, 1999: 20) 5), states that Tattwa means essence, or real So, Sasolahan Sanghyang Oncesrawa reality. Likewise Tattwa is knowledge of the at Penataran Sasih Temple can be said to true nature or reality of Hyang Widhi. Tattwa have an aesthetic function. Sanghyang implicitly refers to the principles or essence Oncesrawa has a conception of Satyam, of true truth. That true truth according to Siwam, Sundaram. Ida Sang Hyang Widhi Gandhi (in Suwantana, 2006: 9), is called the Wasa is the most beautiful and the source of Almighty God. all beauty. In the Vedic holy library, Ida According to Desak Niang Made Ayu Sang Hyang Widhi Wasa described in the (interview, August 6, 2017), when Jero form of Nataraja with His cosmic Tapakkan began to enter supernatural power, dance is said to be the creator of music and a great deal of energy was felt throughout the dance as well as the creator of the great art body, and the body became lighter and (, 2005: 299). For details, see Photo lighter, the body did not burn and felt hot by below. fire, and human around him looked small as if he felt big. As explained by the eight

197 Vol. 3 No. 2 Oct. 2019 omnipotence of God or called Astaaiswarya and with God. Approaching to the natural in the following Wrehaspati Tattwa: environment aims to build a Bhutahita nature Hana anima nagaranya, hana which means a prosperous environment laghima nagaranya, hanamahima (Wiana, 2004: 37-38). The key is any type of nagaranya, hana prapti nagaranya, ritual offered is certainly based on a pure and hana prakamya ngaranya, hana isitva sincere heart without expecting a reward ngaranya, hana vasitva nagaranya, (Subagiasta, 2006: 38). So the word upacara hana yatrakamavasitva or ceremony means movement or activity nagaranya…,(Wrehaspati Tattwa. 66) around the life of mankind, or the activities Translation: of mankind in efforts to connect themselves There is something called anima with God. (Lord Shiva's strength can be as small Sasolahan Sanghyang Oncesrawa is as possible), laghima (as light as equipped with ceremonies and upakara as a possible), mahima (as large as means of the people in presenting the holy possible beyond everything), prapti spirit so that it is pleasing to possessed (always success), prakamnya prelingga Sanghyang Oncesrawa. By using (manifest of all desires), isitva the appropriate means of banten at the (regulator), vasitva (omnipotence) Sasolahan Sanghyang Oncesrawa procession and yatrakamavasitva (almighty) and a kind of feeling that is calm and sacred in it is eight aisvarya or supernatural oneself and so are other societies. powers of God .... (Putra, 1998: 68) In Lontar Yajna Prakerti, it is stated as As in Isa mention the following: follows: Iśavāsyam idam sarvam yat kim ca Sehananing babanten pinaka raganta jagatyām jagat, tena tyaktena twi, bhuñjithā, mā gradhah kasyasvid Pinaka warna rupaning Ida Bhatara, dhanam.(Iśa Upanisad, I.1) pinaka anda bhuwana. Translation: Translation: Know all this that anything that moves All bebanten is the symbol of the in this world, everything is wrapped human and a symbol of content of the up by God. Because of that, find your universe (Wiana, 2004: 11). happiness in the release and do not want something that is the right of c. Social Meaning others (Radhakrisnan, 2010: 437). Religious activities for Balinese people especially Hindus cannot be separated b. Sanctification Meaning from ethics or Susila itself. Ethics plays an According to Putra, (2001: 9), important role in Hindus connecting upacara or ceremony derives from the word themselves with God. In connecting with "upa" which means "relating to", and "cara" God, Hindus can take many ways, as stated that comes from the word "car" which means in the Bhagavadgita as follows: motion then gets the ending "a" into a noun Ye yathā mām prapadyante tāms which means movement. So the upacara or tathaiva bhajāmy aham, ceremony is anything related to movement or Mama vartmānuvarthante manusyāh activity, or in other words the ceremony is a pārtha sarvaśyah. (Bhagavadgita, IV. movement (execution) of a yajna. In general, 11) the upacara or ceremony is in the form of Translation: material which is also called "banten", Whatever way people worship Me, on Upacara means "approaching", also means the same path I fulfill his desires, O "respect" the core of the ceremony is tattwa Partha, because all the paths they is indeed an activity that draws people and take, all are My ways (Maswinara, their natural environment, with each other 1999: 234).

198 Vol. 3 No. 2 Oct. 2019 Ethics or Susila in Hinduism itself singer after mastering the metrics of can be termed as a rule of good behavior gayatri, usnik, tristyubh, and jagati (Atmaja, 2010: 11). In line with that, (Titib, 2003 : 335). Ngurah, (1999: 1), explained that ethics not only has one or two people. However, ethics Sasolahan Sanghyang Oncesrawa is belongs to every community group, with a dance that reflects natural movements as a ethics, community groups are expected to life cycle based on rtam. Likewise a have a meaningful system to regulate living movement that brings out the beauty that together. comes from Rasasvada. Rasasvada is an expression of taste that arises from within d. Aesthetics Meaning that is synonymous with beauty and art. Hindu aesthetics is basically a Bharata Muni (in Watra, 2007: 21), states perspective on the feeling of beauty (lango that the problem of art is the problem of or kalangwan), a term used by ancient kawi, "taste" which is one aspect of Natyasastra which is seen by the meaning of Hinduism which is extorted from the Catur Vedic book. based on the teachings of the Vedic Sasolahan Sanghyang Oncesrawa can create scriptures. In connection with this beauty because in the dance nine rasasvada description, then several concepts are the bhava appear, according to Yudabhakti (in important foundation of Hindu aesthetics, Watra, 2007: 23), mentioning Nine Bhava namely the concept of chastity, the concept include: (1) Srnggara, namely love, (2) of truth and the concept of balance. In the Hasya namely pride, (3) Karuna, which is Hindu aesthetic concepts in Bali, especially love or sadness, (4) Raudra, which is anger, in the three wisesa concepts, namely: satyam (5) Wira, namely feeling strong, (6) (truth), siwam (purity), sundaram (beauty) Bhayanaka, feeling of danger, (7) Bhibatsa, (Djelantik, 1999: 58). Sasolahan Sanghyang feeling of beauty, (8) Adbhuta, feeling Oncesrawa begins with gending Sanghyang shocked (9) Santa is the culmination of a which always sings with melodious rhythms, sense of freedom. Looking at the nine bhava, so that people are hypnotized by the beauty it can be said that Sanghyang dance is a of the song. Song or Gending itself is dance that can create beauty, magic and actually already in the , as in the religion. According to Ruma (interview, following mantram: August 6, 2017), mentioning at the time of Gayo sasra wartani meaning that We Sanghyang Oncesrawa dance, the Sanghyang sing Sama Weda mantras in thousands ...... Oncesrawa’s movement seems to imply a (Titib, 2003 : 54). feeling of sadness, enthusiasm, anger, love, Reg Weda Book Mandala II states the pride, seeing danger, powerful and finally a importance of vocal art in carrying out movement full of calm. religious ceremonies, such as in the following mantram: IV. CONCLUSION Pradaksinid abhi grnanti karavo Vayo vadanta rtuthā sukhantayah Sanghyang Oncesrawa is carried out Ubhe vacau vadati sāmagā iva based on the history of a horse named Gayatram ca traistubhyam cānu Oncesrawa. This thick white-haired horse is rājati.(Reg Weda II.43.1) King Bedahulu's favorite horse that Translation: disappeared and never came again. To May the birds of conscience guide us commemorate the horse named Oncesrawa, forever in proclaiming about the Sasolahan Sanghyang Oncesrawa is carried journey in accordance with the out in the Penataran Sasih Temple. This environment, such as a hymn singer dance is classified as the art of sacred dance who cleverly states about the two and when dancing, the dancers are possessed, types of praise such as the moving agile on a horse-like movement.

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