document resume ed 390 770 so 025 647 … · information for teaching about the diaspora of...
TRANSCRIPT
DOCUMENT RESUME
ED 390 770 SO 025 647
AUTHOR Christenson, Charles ElroyTITLE Report on Fulbright Summer Seminar on Indonesia.INSTITUTION Center for International Education (ED), Washington,
DC.
PUB DATE Oct 94NOTE 47p.: Color photos and some illustrations may not
reproduce well.PUB TYPE Reports Descriptive (141)
EDRS PRICE MF01/PCO2 Plus Postage.DESCRIPTORS Architecture; Art; Art Appreciation; *Asian History;
*Asian Studies; Culture; Fine Arts; ForeignCountries; Foreign Culture; Higher Education;*Islamic Culture; Non Western Civilization;*Religion
IDENTIFIERS *Indonesia
ABSTRACTThis resource packet was compiled by a participant in
the Fulbright Summer Seminar on Indonesia. The materials provideinformation for teaching about the diaspora of Hinduism and Islamicbeliefs throughout the southeast Asia archipelagoes and theirinfluence on art and culture. The handouts supplement information onIndonesia as part of an Asian Cultures and Civilization course. Theobjectives of the seminar include providing the students with: apersonal comparison between Indonesia and western culture; acomparison of cultural differences between Indonesia and the rest ofAsia; a concept of values; a link between traditional andcontemporary cultures; a set of non-western values; and a conceptualformat to enjoy the art, music, drama, and literature of the country.A timeline, charts, and illustrations accompany the text. (EH)
***********************************************************************
Reproductions supplied by EDRS are the best that can be madefrom the original document.
***********************************************************************
Report on Fulbright Summer Seminar on Indonesia :From: Charles Elroy Christenson
U S DEPARTMENT OF EDUCATION()rho? ,,r Ert,car ,a, Re+PWC. e ,,,,, vemem
EDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC,
This document has been reproduced asreceived Iron, the person or mdanizationoriginating it
0 Minor changes have boen marle toimprove reproduction quality
Points of view or opinions staled in thisdocument do not necessarily representothcial OER1 position Or policy
Report on Fulbright Summer Seminar on Indonesia 10/17/94From: Charles Elroy Christenson
I was specifically interested in the diaspora Of Hinduism and Islamicbeliefs throughout the southeast Asia archipelagos and its influence onthe art and culture, I was and continue to be interested in making thecomparisons of India and Indonesia's responses to the pressures ofpopulation and economics of a developing nation from a different colonialbackground.
My seminar objectives have been:
1. to provide the students with a personal comparison betweenIndonesia and western culture,
2. to expand my knowledge of Asian and, in particular, Indonesian arthistory and its cultural and historical context,
3. to provide the students with the a comparison of culturaldifferences between Indonesia and the rest of Asia,
4. to provide the students with an understanding of the complexityand social integration of culture which exist on a daily basiswithin Indonesia's diverse cultures,
5. to provide the students with a concept of values that have beenpassed down from generation to generation through mythologiesof various cultures,
6. to provide the students with the link between traditional andcontemporary cultures within a country,
7. to provide the students with a set of non-western values thathave proven a successful alternative to western culture,
8. to provide the students with mythologies and artworks whichreflect the values of family, community, and self in society,
9. and to provide students with not only a chronological delineationof history but also a conceptual format to enjoy this countriesart, music, drama and literature .
My participation in The Summer Seminar on Indonesia allowed me toexplore the roles of the arts and literature of the country as they areaffected by mythologies, by local religions, as well as by social andtechnological change. I attempted to observe the values the Indonesianpeople and how they were reflected in their cultures in the rolls of:
1. the role of marriage and the family2. the relationships between women and men3. the role of the arts and the artist4. the role of the institutions of religion and government5. the personal values of fi iendship, love, honor and death6. the consequences of technological and populational trends & changes
In order to obtain the required composite of information I did thefollowing activities:
1. I observed the daily activities and life of the communities
2. I took and labeled 52 rolls of slides (over 1800 photographs) ofdaily life, art works, dance, and dramatic performances forinstructional material
3. I photographed and interviewed artists, writers, teachers andreligious leaders for personal insights and perspectives abouttheir country and their work.
4. I audio recorded lectures given by writers, artists,teachers,religious and leaders during the seminars formalsessions.
5. I collected and purchased local books and written material toillustrate the cultural differences and mythological base ofIndonesian uniqueness.
6. I have continued to filter, sort and assimilate the material on art,legends, myths, and religions of these countries paying particularattention to their present impact on society and how they in turnare changed by society and the world around them.
The enclosed samples of educational handouts will be used assupplementary information on Indonesia used in conjuction with theslides I have taken. Indonesia is part of a larger course of study onAsian Cultures and Civilization that I will be team teaching in theWinter Quarter of 1995. Thank you so much for the oppurtunity to learnabout this part of the world.
4
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6
Indonesia Historical Calendar
1,000,000 bce "Java Man"/ P. erectus (Dubois) Calvaria, Middle Pleistocenedicovered by Eugene Dubois, Trinil, Java"Solo Man" / discovered in Solo River Valley, Java 1949H. sapiens soloensis (Oppenoorth) Calvaria XI, Upper Pleistocene
11000,000 bce- 40,000bce stone tools
4000 bce ref ined stone tools
5000-3000bce Donsong Culture - bronze drums
bronze ceremonal axes
5 bce 15c stone pyramid built for worship
Yupa stone inscribed in Gujarat language native to Rajputana,Mathura, and Allahabad,India.
Hinduism introduced by Indian tradersTaruma kingdom established by Purnavarman
footprint stones refer to Visnu
5c-6c first statues of Brahmanic and Buddhist remains
730 930 ad Sat lendras conquers central Javaestablishes first major power in Indonesia,introduces Mahayana Buddhism
building of Prambanam and Borobudur kHindu and Buddhist)
800s Islam introduced by Arab traders
9c King Balaputra of Silendra dynasty gives income from 5 villages toBuddhist university in Bihar district of India, probably forIndonesian pilgrims
929-1222 Kadiri k ingdom
1222-1293 Singasari kingdom
I 293-1527 Majapahit kingdom
14c praises of Indon. kings still sung in Buddhist monastaries in India
1292 Marco Polo visits Java w ith Chinese traders going to Europe
1512 last of mountain monuments to Hinduism constructed on Java
1602 creation of Dutch East Indies Trading Co.(held Mollocos Islands only)
forced monoply of traderequired forced labor
- required forced cultivation of crops
18c. last Hindu kingdom on Java, Barnbagan, becomes Islam
7
remaining Hindu adherents move to Bali
1870 I iberal isat ion of trade
1880- Dutch Colonialism of greater Indonesia begins-educational system produced only 300 college graduated by 1950
1892-1940 Dutch colonial administration
1940-45 Japanese rule of Indonesia
I 950 Indonesian Independence
establishment of the the Pancasila standard of government
4.
9 4,A' 411Laii:011
GE
OG
RA
PHY
LA
RG
EST
AR
CH
IPE
LA
GO
IN
TH
E W
OR
LD
INI
)oN
ESL
A, t
he la
rges
t arc
hipe
lago
in th
e w
orld
, lie
s be
twee
n 6'
Nor
than
d I
I" S
outh
ithe
cro
ssro
ads
of th
e co
ntin
ents
of
Asi
a an
d A
ustr
alia
/h
yam
a. T
his
stra
k.gi
c po
sitio
n ha
s g
eatly
infl
uenc
ed a
s cu
ltura
l, so
cial
,po
lin(
al a
nd e
cono
mic
life
.In
done
sia
shet
ches
mile
s be
twee
n th
e In
dian
Ind
Pac
ilie
ocea
ns,
w h
it hi
is th
e w
idth
ol t
he L
nite
d st
ates
of
Am
eric
a, U
r th
e di
stan
ce f
rom
Oie
gon
to B
erm
uda.
If
the
wat
er s
pace
bet
wee
n th
eI
3,7
0 sc
aner
edis
land
s is
incl
uded
, Ind
ones
ia c
over
s 1.
9 m
illio
n sq
uare
inile
s, o
rtim
es th
e si
ze o
l Aus
tral
ia!
As
8(1"
,,o1
the
area
is il
l fac
t wat
er, I
ndon
c.si
ans
rely
i to
thei
r co
untr
y as
Taw
& A
n' K
EW
. \\il
k It
liter
ally
mea
ns "
Our
( N
atio
n)
Lan
(1 a
nd \V
alet
.-In
done
sia'
s liv
e m
ain
isla
nds
are
suin
atra
(sl
ight
ly la
rger
than
IlIt
uuII
lii t,
Jav
a (a
lmos
t the
siz
e of
New
Yor
k St
ate)
, Kal
iman
tan,
On
the
wor
ld's
thir
d la
rges
t isl
and,
Bor
neo,
Sul
awes
i (ab
out t
he s
ize
of G
reat
hian
Jay
a, p
an o
f th
e w
orld
's s
econ
d la
rges
t isl
and,
New
Gui
nea.
Flit
.' ot
her
isla
nds,
of
whi
ch (
)Illy
coi
n()
ate
hilm
hked
, var
y in
siz
i:
how
It.
kv (
1111
(.11
)1)s
to L
uger
isla
nds.
1 0
".H
IST
OR
Y
PRE
IIIS
TO
RY
IE F
II(S
T tR
)D
ER
N N
IAN
in I
ndon
esia
was
und
oubt
edly
the
dark
-sk
iimed
, woo
ly-h
aire
d, p
ygm
y N
egri
to w
ho b
elon
ged
to th
e A
ustr
aloi
dgr
mip
. I le
was
the
firs
t Hom
o sa
pien
s to
com
e to
Ind
ones
ia,a
bout
30,
000
to a
io,o
un r
ears
ago
. Nol
uKly
kno
ws
whe
re h
e ca
me
from
exac
tly, b
ut h
isge
netic
(la
ces
can
still
be
It u
nd in
Eas
tern
Ind
ones
ia, a
s in
the
high
land
trib
es o
f In
an J
aya.
The
Neg
rito
s w
ere
folk
iwed
sev
eral
cen
turi
es la
ter
by p
eopl
e of
the
Aus
tral
oid
go lu
p. 'H
wy
wer
e al
so d
ark-
skin
ned
and
woo
ly-h
aire
d, b
utha
d Im
iad,
fla
t nos
es a
nd p
rono
unce
d br
ow r
idge
s. I
t is
not c
lear
whe
ther
they
ori
gina
ted
in A
fric
a or
Ind
ia, b
ut to
day
man
y tr
ibes
whi
ch r
esid
e in
die
rem
otes
t isl
ands
and
jung
les
of I
ndon
esia
bea
r a
stri
king
res
embl
ance
to th
em.
Bot
h th
ese
grou
ps w
ere
soon
dri
ven
into
the
high
land
s an
d ju
ngle
s by
Nlo
ngol
ian
mig
ratio
n fn
min
the
nort
h. T
here
see
ms
to h
ave
been
two
maj
or m
ovei
zien
ts (
)tit
of th
e ov
erpo
pula
ted
nonh
ern
Indo
chin
a re
gion
:th
at o
f th
e Pr
oto-
Mal
ays
and
that
of
the
Deu
tro-
Mal
ays.
The
l'Io
lo-M
alay
s, r
epre
sent
ed to
day
by e
tHic
gro
ups
such
as
the
Bat
aks
and
Day
aks,
bro
ught
with
them
a N
eolit
hic,
or
New
Sto
ne A
ge,
tech
nolo
gy. T
hey
lived
in v
illag
e se
ttlem
ents
, dom
estic
al.:d
ani
mal
san
dcu
ltiva
ted
food
. Evi
denc
e of
thei
r cu
lture
can
be
seen
toda
y in
the
huge
ston
e m
onum
ents
, or
meg
alith
s, f
ound
in S
umat
ra.
The
Deu
tro-
Mal
ays
bek
mge
d to
the
true
Mon
gol(
mid
rac
e. f
low
they
cam
e to
Ind
ones
ia is
stil
l a m
yste
ry,
but t
hey
soon
took
ove
r th
e be
stag
ricu
ltura
l lan
ds, d
rivi
ng th
e ot
her
inha
bita
nts
into
the
high
land
san
d
jung
les.
Tod
ay, t
heir
des
cend
ants
are
fou
nd a
long
the
coas
tsan
d Pl
ains
of a
ll th
e m
a;or
isla
nds,
and
con
stitu
te th
e m
ajor
ity a
mon
g In
done
sia'
set
hnic
ally
div
erse
pop
ulat
ion.
11
iIIE
III
ND
U-B
UD
DH
IST
KIN
GD
OM
Slo
tile
2nd
t en
tuiN
A D
, In
dia
w a
s at
the
peak
(il
as k
ultu
ial d
e\ c
lopm
ent
I he
Indo
nesi
an R
iling
t la
ss, i
mpi
esse
d w
all
hl11
lLI
phil(
)sop
liKie
ligio
us
and
cultu
ral s
uper
iorit
y, s
tart
-.d
toIn
dian
ize"
thei
r ()
Wn
king
dM1S
. 'H
wy
invi
ted
13ra
hmin
sch
olar
s to
thei
r co
urts
; sen
t sna
lent
s to
stu
dy in
Indi
a:le
arne
d ab
out a
stro
nom
y :In
d na
viga
tiona
lte
chni
ques
, lig
ure
scul
ptur
ing
:Ind
text
iledy
eing
; bor
row
ed n
umei
ous
Illau
woi
ds
whi
ch r
e st
ill in
use
; int
rodu
ced
spic
es s
uch
as c
arda
mom
:Ind
niri
lleliC
1111
cc th
eir
food
,
dom
estic
ated
hor
ses
and
(_.le
phan
ts .
and
chan
ged
thei
i arC
illIC
CIL
IMI s
tyle
.
low
ever
, the
tvhi
gges
t are
as o
t cha
nge
wer
e in
the
new
soc
ial s
tatu
s of
the
;tile
rs a
ndin
rel
igio
n. T
he In
d( in
esia
n ar
ist(
iLla
cv fo
und
they
cou
ld b
ette
r co
ntro
l the
ir ki
ngd(
cin
s on
ce
they
intr
oduc
ed th
u. In
dian
con
cept
of a
div
ine
rule
rper
haps
a d
esce
ndan
t of s
ome
myt
liica
lfig
ure
or a
rei
ncar
natio
n ol
the
Hin
du g
odV
ishn
u hi
mse
lfwith
lim
itles
s po
wei
s an
dbe
long
ing
to th
e Iii
ghes
t "ca
ste.
Indi
a's
twin
rel
igio
ns--
1 tin
dois
inan
dliu
ddlli
sm--
bega
n a
peac
eful
(0
)o'x
is(e
i at i
ll
Java
:Ind
Siii
itati,
iLa
ter,
IIIC
Hin
du g
od S
hiva
and
land
Bud
d hi
aw
ere
t rya
t ed
as
rein
carn
ati(
nis
of ti
le s
ame
God
, thu
s lu
arhe
rbl
urri
ng th
e di
stin
ctio
n be
twee
n th
e tw
ore
ligio
ns.
Ifyo
u ev
er g
et h
.-ch
ance
, "se
e B
orob
udur
durin
g th
e fu
ll m
oon
orIn
the
vent
ear
ly m
orni
ngw
hen
laye
rs o
f mis
t fill
the
valle
y an
d ..
coni
cal
voic
e. o
es s
hine
In th
esr
mor
ning
sun
" (D
alto
n,In
done
sia
Han
dboo
k).
App
roac
h th
e ge
ntle
pyra
mid
from
the
wes
tan
J w
alk
cloc
kwis
eth
roug
h its
ten
terr
aces
to p
ay tr
ibut
e to
the
gods
.It
Is th
ree
mile
s to
the
top
By
al )
( m
ut tl
ie S
th c
entu
ry th
ere
wer
e tw
ow
ell-
esta
blis
hed
king
dom
s:
the
Bud
dhis
t Sriv
ijaya
kin
gdom
in S
umat
ra w
hich
rule
d th
e se
as a
ndm
ajor
mar
ine
[(R
iles
For
die
nex
l N()
yea
rs, a
ndth
e H
indu
-Bud
dhis
tN
lata
raill
alld
Sai
klid
ra Id
ngdo
ins
of C
entr
al J
ava
whi
ch c
ontr
olle
din
land
rice
prod
uctio
n fo
r a
shor
ter
perk
)(.
I of t
ime.
In fa
ct, S
umat
ra w
asca
lled
Sw
arna
n Iw
I,r
"Gul
d Is
land
," w
hile
Jav
a w
as c
alle
d Ja
vaD
wip
a, o
i
"Ric
e Is
land
."T
he s
riViii
iya
king
rlom
was
has
ed o
n fo
reig
n tr
ade,
and
con
trol
k..d
the
stra
tegi
c S
nails
ol M
alac
ca. F
rom
her
e, s
pice
s, in
cens
e an
dot
her
rale
goot
k w
ere
trad
ed b
etw
een
Chi
na a
nd In
dia.
The
Jav
anes
e M
atar
am a
nd S
aile
ndra
kin
gdom
s w
ere
mor
ecu
ltura
lly
orie
nted
. The
ric
h so
ils a
nd w
et-r
ice
agric
ultu
re s
uppo
rted
a h
uge
popu
latio
n, m
uch
of w
hich
was
late
r em
ploy
ed fo
r th
e hu
iklin
gof
the
mag
nitic
ent B
orol
nklu
r (s
ee p
age
22)
and
Pra
mba
nan
tem
ples
. Thi
s
peac
eful
coe
xist
ence
of I
lind
us a
nd B
ukkl
hist
s di
d no
t las
t lon
g;al
to a
turh
ulen
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18
aln
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The Influence of Islam, Hinduism and Pancasilaon the Art of Indonesia
lalam
Fundamental valuesPromotion of the Worship of One GodPromotion of Social CohesivenessPromotion of Family CohesivenessReligions restrictions imposed to promote hmdamental objective
Food restrictioagno alcoholic beverageskosher cut meatme of fasting
women mmt cover their hairmen should always wear long pantsno bare shoulders in public
Education used to promote religious valuesRestictions placed on Art worb
"Make no graven images", dictateaccrisancutsalligrapluALAilmtiammasancradaagemmakinsAtzuvthan
tilesfabric designarchitectural details
Social results of Islam on Artlittle or no paindngs of figures and animalslittle or no art education within Islamic schoolslittle or no visual works dealing with religious or political issueslittle or no societal support for art schoolslittle or no societal support for art museums, etc.
The Influence of Islam, Hinduism and Pancasilaon the Art of Indonesia
Balinese Hinduism
Fundamental ValuesWorshipping of Many Gods
Traditional Hindu PantheonBrahmaVishnuSkin
Anacsieralidalit AnizmiksBelief in Reincarnation
LCQUilrotszematicacucmanx_gfracazczanLtIQUittlilenCadibulead
Important use of Religious ceremonieswed to placate demons. ancestors and mysterious forcesused to create swial cohesionused to link past to future
Art School established In Denpasarto pass on traditional skillsto pass on traditional valuesto pass on historical basis
Social results of Hinduism on the Visual artsartworks used to honor the gods and ancestorsartworks used to describe the rath of the gods and demonsartworks used to embellish temples and homesartworks used to embellish the cremation ceremoniesartworks used to create societal unity and common set of beliefs
2 '7
The Influence of Islam, Hinduism and Pancasilaon the Art of Indonesia
the Indonesian government and the Pancasila governingahllsaaabx
Fundamental valuesBelief in one GodJust and avilised SocietyUnity of IndonesiaDemocracy guided by Wisdom and Deliberation of RepresentativesSocial Justice for all of Indonesian people
Social results of Pancaella and the Constitution on the visual arts"preserve the nations heritage""encourage works based on traditional elements""encourage works based on foreign traditions and new ideas"Art used to create and promote a historical context for the nation
ustildigliguskbramimiscii.tgluDDIELIbetAigurailt .thC4LefiCnt.surgumcnIuseglaszCaluisammodkandiungngihraicsara
Art institutions/schools(Seventeen Music,Dance, Art, and craft schools)only five visual art schools in existence in the nation
Fine arta School, Denpasar(Bali) student pop. 412Institute of Technology , Bandung student pop. ?Fine arts School, Padang(W. Sumatra) Pop. 580Acad. of Fine ads, Yogyakarta(Cen. Java) pop. 410Kenisian Jakarta,(local administration of Jakarta) ?
ail art schools poorly supported with funds
Art museums and cultural institutionsmsaaacilly.hund.tlat gstothi3lainlitined
The Indonesian National Museum in JakartabillidatilLigki21011
POSIIIISCOVIDMii11113111b1Li=The Kraton Library in Yogyakarta
boaskkafsolleakslackatizascutantolouthumidslimac
The West Java Cultural Museum at Bandungkaulantsallalkietlarmarittaa_tnazszatratspacclaucuaaardmilitia
lailLNIUNILLaLwalBala! Seni Rupa in Jakarta.
.aalyloastaiauscumaLsmairmgmacattlittlCA421
lacks adequete spacefacilities poorly maintained
Social results of 1PancasilaYaluzazmmatcd
freedom of expressionpreserving of traditionseconomic deveolopment at the country
allilallgradralL113K4KigEiliral
Hinduism
OKIThousands of gods, but threemain ones are worshiped:Brahma, Vishnu, and Shivawith many incarnations andnames for each
Creation theoryCreator of all universes fromBrahman
After LifeBelieves in the cycle of birthand rebirths, the universewill expire and be reborn thesame as the individuals andthe gods
Primary BeliefPresent life on earth is only atemporary state and will beimproved in the nextexistence if a person doestheir duty.Animals and men have soulsbetween which souls can bereborn.
SalvationDoing your duty in yourstation in this life will bringyou back to a higher level inthe next.
Living habitsAdopts, generally, avegetarian diet to preservelife of animals.Some will occasionally eatchicken but rarely pork
BEST COPY AVAILABLE
Religions ComparedChristenson
Latthism JAW=
No creator but Hindu gods, OK, Gods may exist but not muchBuddha never denied the gods more important than manBuddha, himself sometimesconsidered a god (Mahayana sect)sometimes a man(Theravada orHinayana sects)
Universe is without a creator,it is created out of higherforces
Believes inrebirth, butescape the(peace andrebirth)
cycle of birth andthe ultimate is thecycle for "nirvana"freedom from
Life is misery. Desire is theroot of man's problems. Allpeople should strive to obtainliberation from existence onthis earth by means of gooddeeds, "dharma." The soulwithout desi.e will not bereborn into more misery.
Knowledge is the only releasefrom the cycle of birth andrebirth.
Adopts generally a vegetariandiet to preserve the life ofanimalsabstains from alcohol anddrugs.
29
No creator. Universe is self-existent. Due to thenerfection of the world, acreator would imply a need toimprove
Does not believe in rebirth,the universe is self-existentand indestructible. Heavenexists for souls of the rightliving
Life is essentially evil. Theobject of living isdeliverance through rightaction
Right knowledge, rightconduct, right faith andchastity will release manfrom matter's tyranny
Adopts a strict vegetariandiet, and forbids eating rootcrops and garlic, abstainsfrom alcoholic drinks anddrugs
Allah, one god
Creation theoryGenesis theory of creation
After LifeHeaven only for those thatbelieve in Allah
Primary Belieflelief in one true God,etray 5 times a day,ive alms,
Perform a month's fast everyyear and a pilgrimage toMecca on,e in a lifetime.
SalvationComes by living right anddying in holy wars
Living habitsMeat eating, OK, but must beprepared according to Koshertechniques, eat no pork
O
Religions Compared
Parsee(Zoroastrian) Sikhism
Christenson
Gods of fire, earth, water and "one god, unborn and selfa i r existent
universe has always beencreated because of theconstancy of matter
All souls go to hell until judgedand cleansed, after thecataclysm of all.The body becomes a part ofanother life by having allbodies eaten by birds lest thesoul be defiled by fire or dirt
All things contain within aparticle of "The Deceiver", theevil principle. Man has freewill to choose "the light" or the"Lie", the eternal fightbetween good and evil withman's duty in his conflictnature is good-
"make an enemy a friendmake wicked righteous and the
make the ignorant learned"
Comes from good deeds,thought and words-Live a life of piety andmorality
"Eat no Flesh"a vegetarian diet to preservethe life of animals, abstainsfrom alcohol and drugs
JEST COPY AVAILABLE
30
"The in dweller of nature" iseternal and present in everyparticle of the world.Not a manipulator of matterbut ever present in matter
belief in rebirth of the souland eventually unison withgod
The "Ego" is the root cause ofall ills and evils of man.No caste or color differences,Equality of men and women"The aim of life is not to gctsalvation or paradise but todevelop the best in manwhich is god''
Comes from strength,service to man, humility andequality, good deeds not caste,creed or color
generally vegetarian diet,and some cat meat but rarelypork
HINDU and BUDD H 1ST ARCHITECTURAL MOTIFS
NORTH INDIANKHMURAHO
ORISSANBHUBANESWAR
DRAVIDIAN MADURA! BUDDHIST STUPASSANCHI NEPAL
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32
Barong / Kris Dance of Bali
11) The Barong Play represents an eternal fight between good and evil spirits. Barong (the mythologicallion-like animal) represents a good spirit and Rangda (the mythological monster) represents an evil one.
The Barong/Kris dance originated on Bali in one particular village which became popular with thelocal people because of the story, demons, and elaborate performance. It eventually grew into aregional event and finally a symbolic dance associated with the island of Bali. It is now primarilyperformed for tourists with whom it is popular for its final scene of religious trance dancing wherethe dancers seemingly pierce themselves with a Kris(magical knives).
Slides1 The entry of the Barong, (good spirit) who moves about with magnificence to the music.
2. The entry of the Barong, (good spirit)
3. The entry of the Barong, (good spirit)
4. The entry of the Barong, (good spirit)
5. The Barong, (good spirit) with his monkey friend, who teases him.
6. The Barong, (good spirit) with his monkey friend,
7. Servants of Rangda (evil) are looking for the servants of Dewi Kunti, a queen.
8. Servants of Rangda (evil) looking for the servants of Dewi Kunti, a queen.
9. Servants of Dewi Kunti, enter as comic figures. They act the buffoons.
10. One of the Servants of Rangda changes into a witch who enters both the servants and causes them to quarrel and fight
with one another.
I I. Entry of Patih (the prime minister and husband of Dewi Kunti)
12. Dewi Kunti is shown with Patih(the prime minister) and Sadewa, ber son, who she has promised to sacrifice to Rangda.
no slide- a witch appears and enters both Dewi Kunti and Paull, who fight violently with one another, in the end Patih
relents to take Sadewa into the forest and there he Is tied to a tree.
13. Dewi Kunti w/ servants after tying Sadewa to a tree.
14. The god Siwa (Shiva) enters giving Sadewa immortality while he remains tied to a tree.
15. Rangda appears to try to eat Sadewa, which proves impossible because he is now immortal.
16. Sadewa fights and eventually kills the Rangda, who goes to heaven.
17. Rangda's servants running about.
18. Kalika, another servant of Rangda has killed one of Dewi Kunti's servants.
33 BEST COPY AVAILABLE
19. Kalika, servant of Rangda, changed into a boar and gets killed in a battle w/ Sadewa
20. Kalika, servant of Rangda, then turns into a bird - who is again defeated by Sadewa.
21. Kalika now changes into Rangda herself and Sadewa cannot kill her again.
22. Sadewa then changes into a Sarong for the never ending baule between good and evil.
23. Followers of the Barong belp to fight against Rangda(evil)
24. Rangda beaten back temporarily
25-28. The followers of the Barong go into a trance, and attempt to kill themselves because of their inability to completely
get rid the world of evil. ( In one version, Rangda's magical power forced the dancers to the turntheir knives on
themselves.)
29. The priest applies holy ashes to the dancers wounds while the Barong protects him.
34
BrahmaLord of Creation
one of the oldest gods
other namesPrajapati'PitamahaKamalasanaAtmabhuParamestiHiranyagarbhaSavitripathiAdikaviEushaSwayambhu
Christenson
Simplified Hindu Pantheon
Brahmantoo great to be understood or approachedno temples constructed to this deityno direct worship
Gods created out of the incomprehensible neuter
VishnuLord Preserver
ShivaLord of destruction
no consorts but severalfemale oersonifications Incarnations Consort Other names
Sarasvati (Savitri) Matsya Lakshmi Mahadeva
Saturupa Kurma NatarajaGayatri Varaha BhairavaBrahmani ( Brahi) Narasimha Vinadhara
VamanaParasurama Lingam/YoniRama
Krishna
Lson)Kama god of love'
beings created out of the division of hisown substance - half-man, half-woman
Praiaoatis - 'active'(male beings not gods)Marichi (Morality)Atri (Decency)Angiras (Charity)Pulastya (Patience)Pulaha ( Pride)Krttu (Piety)KProchitas (Ingeniunty)Vasisbita (Emulation)Shrigu (Humility)Narada (Reason)
1
Rishis -"passive"(sages)KasyapaAtriVasishtaViswamitraGantamaIJamadagniBharadwaja
The BudctiaKa lkin
Kadra (mom)
Kasyapa(dad)
Vinata (mom)
associated tiouresNagas
AnantaGaruda Jatayu (son)
L Sampati(son)
ConsortsParvatiDurgaKaliDeviChandChamudaUrnSati
fsons)Ganesh 'remover of obstacles'Kartikeya *god of war'(created onty out of Ssoo3 hrose.li
Christenson
Vishnu (Lord Preserver)represents goodness, politeness
god with a thousand names
consort - Lakshmiten major incarnations or (goddess of agriculture, health, proserity)avatar of Vishnu
1. Matsya (fish) probable god of fishermen2. Kurma (tortoise)assoc. with creation of the earth3. Varaha (Boar) raised the earth from primal waters4. Narasimha (man-lion)who killed a greedy and irreligious leader5. Vamana (deformed dwarf)who overwhelmed the evil King Bali _./
16. Parasurama (militant brahmin)swore vengence against theKashatriyas who persecuted the Brahmin caste
7. Rama (Ramachandra)- god in Human form in Mahabharat8. Krishna(blue boy w/ flute) symbolic of human love
a
9. The Buddha- incarnation used to counteract growing influence T10. Kalkin - (the man with a horses head) will become incarnate at
the end of the present age ,
,
,
other symbols associated with Vishnu
Garuda (man-bird) - charger of Vishnu
Ananta (thousand headed Hydra) bed of Vishnu
has four hands with a symbol of power in each
Lotus - grows from his navel on which Brahma sits, symbolic ofcreation and power over Brahma
Lotus (Padma) symbol in one his four hands, related to beauty
Conch - symbol in one of his four hands, feminine shape, symbolic,probably, of the sound "Om" before the creation of the universe
Mace (Gadha) -symbol in one of his four hands,symbolic of war and masculine power
Miss le or weapon(Chakra)- symbol in of his four hands, war
36
Christenson
Brahma (Lord of Creation)probably one of the oldest gods
god with four heads, from each of which sprang a Vedasometimes described to have been be hatched from a golden
egg othertimes from a lotus from the navel of Vishnu
no incarnations butknown by many names
Prajapatl - (tortoise)lord of creaturesPitamaha - the patriarchKamalasana - he who is seated on the lotusAtmabhu - self-existentParamesti - the chief sacrificerHlranyagarbha - born of the golden eggSavttripathl - husband of SavitriAdikavl - the first poetAja - self-existingSwayambhu - self-existingEusha - (a boar), crator of the earth
female personificationsSaturupa- a daughter born of his own boLv with whom he had fallen in loveSavitri a name of SarasvatiSarasvati-(consort)rides a swan and lolds lute, Goddess of learning, patron
of music and poetry
Gayatri - daughter of a sage, sometimes 2nd wife to BrahmaBrahi (Brahmani)- another name of Savitri(Sarasvati), wife of Brahma,
one of the divine mothers
BR AMNIA
son - Kama - God of Lovealso known as Panchahana
(wife) Rat! passion
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Shiva "auspicious"(Lord of Destruction)controller of war, pestilence, famine, death
condemned to be a wanderer throughout time,a personification of the concept of impermanance and constant change
vehicle is Nandi, Sacred BullHas a thousand other namesMahadeva *great god",Nataraja - "cosmic dancer"creator-destroyer; name used in S. IndiaBhalrava - "the terrifying one"Vinadhara - master of the arts and sciences
symbolslingam and yoni - (phallas) force of creationtrident - Sh:va's staffhour-glass drum - heart-beat of cosmosflame in hand- consuming powerskull in hair - symbol of deathcrecent moon- phase preserverthird eye - with which he saved the universe from darkness,
and burns Kama (Love) to ashestiger skin cover- symbol of verilityCoils of serpents- symbol of verilitybattle ax- symbol of warhuman skull bowl- symbol of death
Consorts of ShivaParvati -"niountain"(fisher-maid)Changed form of Uma, most powerful of all goddessesDurga woman w/ ten arms w/ a weapon in each arm, charger - LionKali - black half-naked woman, goddess of epidemics and cataclysms, conquered time,
garland of skulls and red dripping tongue
Devi - "The Goddess", all powerfulChandi -Chamunda - a form of Durga, one of the "seven divine mothers"Uma - (wife) the daughter of the Himalayas,beautiful devotee who tortured herself for his loveSati - (reborn as Uma) devoted wife who immolated herself
Christenson
SMV(From NIcor'.
sons
Ganesha the elephant headed god (vehicle is the "rat")god of prudence and wisdom, l'emover of obstacles
born of Shiva and Parvati
- Kartikeya ( born of Shiva without Uma)known also as Kumara, as Subramanya in S. Indiagod of war and general of the celestial armies
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The Ramayana - an ancient story
The Rainayana originated in India well over 2000 years ago as an epic poem written by Vilyiki, some
have said Vyasa, about 400BC and consists of 24,000 stanzas. The Ramayana is depicted in works of
sculpture and painting from some of the earliest periods and is probably one of the best known stories of
the Puranas. It has been more recently been turned into a television series that was watched by a huge
numbers in India each night for several weeks.
Thailand and Indonesia- versions of the Ramayana
It was adopted by the Thai people (Siamese) and modified to harmonize with their own cultural traits
and national character. The most famous versinn is the one by King Rama I, The founder of Bangkok
and the present ruling dynasty in Thailand. This version known as the Ramakian, has become a
masterpiece of the Thai literature.
The shadow puppets of Thailand and Indonesia tell the story of the Ramayana with dramatic flair in a
folk narrative. The puppets are created from leather and are usually constructed for very simple lighting
available as the puppeteer goes from village to village retelling the tale for entertainment and money.
The story is moral in nature. In it we witness the victory of man over the power of evil. It is the story of
one of the reincarnations of the God Narayana, on Earth. He was sent down from heaven by Shiva (the
Supreme God and Creator of the Universe) in order to fight the powerof evil (as personified in the race
of Giants under the leadership of Ravana).
This version, copied from a Thai condensation, briefly summarizes the
Ramayana story which has many different versions .
Nonduk was Giant serving Shiva in heaven. His duty was to sit at the foot of the hill on which
Shiva resided, and wash the feet of all the Gods and Goddesses betbre tht.y climbed up to visit
Shiva. They however, would always tease Nonduk by pulling a few hairs from his head, until
one day he became completely bald. Angrily, Nonduk went up to see Shiva, and asked him for
a gift. It was granted that his forefinger would have thc power of death when prin,ed at
anyone. Now, when Gods and Goddesses came to see Shiva and tease Nonduk, he would
point his finger at them without warning, and they would die. Shiva found out and summoned
Narayana to go down and kill Nonduk. When Narayana came down, he artfully took the shape
of a beautiful dancing Goddess and invited Nonduk to dance. Narayana made his graceful
movements so skillfully, that he succeeded in tricking Nonduk into pointing back straight at his
own heart, thus killing himself. Before he died, Nondtik saw Narayana transformed back into
his own shape and mocked him for not having the courage to fight him in a real battle.
Narayana replied that if Nonduk would be born again, he would with him to have ten hcads and
twenty arms all capable of wielding deadly weapons. Narayana wished himself to be reborn as
simple human being, who with just his two arms would still fight Nonduk.
It thus came to pass, that Nonduk was reborn as the wicked Giant Ravana, and Narayana was
reborn into the race of Men as Rama. Narayana's consort was reborn into the form of S:-_a, to
Ravana's Queen Monto. When she was born, she uttered three times on ominous cry hailing
the destruction of the Giants. This newly-born daughter could not be kept for it was feared that
she would bring the destruction of all the Giants and their city. She was therefore placed in a
glass bowl and floated down the stream. A Hermit found her and raised her as his own
daughter. Sida grew up to be very beautiful and she was offered in marriage to anyone that
could lift up a large, powerful bow, which Shiva had given the Hermit. Many came to try, but
it was only Rama who was able to do it. Thus Rama and Sida were married.
An old King who had no children, tired of the worldly life, and thus left his Kingdom to live in
the forest as a Hermit. His beard grew very long and two sparrows made their home in it. One
day he overheard them saying that he had sinned by not leaving nay descendants behind to
ensure the safety of his followers. The Hermit, now aware of the truth, retired from priestly
life and took a wife which be created from the fire by magic. His wife soon bore him a
daughter. One day when he went out to seek food for his family, the god Indra came down and
won the love of his own. Then the Sun God came down and did likewise. Again, another son
was born. The hermit loved these sons very much, until one day his daughter jealously said
that he was treating other people's children better than his own. He immediately demanded an
explanation from her, and then to ensure the truth made a solemn vow. He would throw all his
children into the river, and if any was his own child they would be able to swim back to him.
If not, they should swim away to the other side and be changed into Monkeys. The sons never
came back but were changed into Monkeys by the curse of their father. The daughter swam
back. The Hermit was so angry, that he cursed his wife, changing her into a piece of stone
(which later served as a bridge for Rama's army). The mother used the last of the her
remaining power to make the daughter, who had betrayed her, to remain motionless forever
standing with one leg against the branch of a tree. She would remain this way until the time
would come when she would give birth to a Monkey who would fight for Rama. Only then
would she be free. Several years later, the Wind God came down and made lover to her. A
son was born called Hanuman. Being the Son of the Wind he can never die, because
whenever the Wind blows he is brought back to life. Hanuman possessed great magical power,
as well as eight arms and four faces. When he yawned, the stars came out of his mouth lighting
up the sky.
The sister-in law of Ravana was angry at Rama for refusing her proffered love, and so tried to
revenge her pride by arousing thL. lust of the powerful Giant King. The beauty of Rama's wife
Sida, was amplified in her description to such a large extent, that Ravana was incited to steal
her for himself. Through the use of deception, her was able to forcefully carry away Sida. In
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his flight, he was discovered by a huge Bird. The Bird was badly wounded by Ravana, but
before he died, managed to fly to Rama and tell hem all that had happened.
Hanuman now learned that Rama was going off to fight the Giants alone, and therefore offered
Rama his help and that of his brother's army. The war that developed was fierce. Both sides
employed all the deceitful tactics and magical powers at their command. At one time, Rama
was hypnotized and captured by one of the enemy, and was saved by Hanuman just in time. It
was also Hanuman, who on being captured, tricked Ravana into setting fire to him so that he
could burn down the Giant city. In the many battles that occurred, most of Ravana's allies
were killed by Rama and his army. Ravana however, couldn't be killed, so the war dragged
on....
Though his heart was pierced by an arrow, Ravana could not die, since his soul was outside his
body, safe-guarded by his former teacher, a Hermit. Hanuman then went in search of the
Hermit, and was successful in secretly exchanging boxes and stealing away with the one
containing Ravana's soul. The end was near...Ravana now learned that Hanuman had his soul,
but still,eame out bravely to fight and die. At the same instant that he was shot by one of
Rama's arrows, Hanuman took the soul case and crushed it into dust. Thus ended the proud
and arrogant life of Ravana. The fourteen years of war were now over.
Sida would not come out to Rama until she had proven herself. If she had been pure and
faithful, fire would not harm her. She requested all the mortals and Gods to bear witness as she
walked through the fire. At every step, a lotus blossomed beneath her feet and she remained
unharmed. Rama was happy and came up to take her arm and sit her beside him once again...
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Sankhva Tattvatantric diagram illustrating the manifestation
processes of creation
all embracing Parasamvit
All distinctions arethe work of Saktisderiving from theoriginal Sakti
5 Senseorgans
EarSkin
Eye
TongueNose
Maya
Sakti ofillusory divisionwith 5 Kanchukas
Prakrtiwith 3 gunas
Brahman without qualities
Sakti Siva
Vimarsa 1 Prakasa
otherSakti with
eyes dosed
Sakti witheyes open
Self
Mantra Zone
'That' Self
Descent=Genesis bylimitation
Ka la: separates in timeNiyati: produces dependenceRaga: attackes to separate "things"Vidya: knows separate "things"Ka la: causes diffuses action
Sattva
Rajas
Tamas
4 Modes of minAwoken Actinve
Canso= Self-Consious
5 Senseperceptions
SoundTouchForm
TasteOdotr
5 Organsof Action
MouthHand
Leg
Bowel
Genitals
5
Energies
PranaApana
UdanaVyanaSam ana
Instruments by which each Ind vidualPurusa bedieves it experiences
an objective world
PurusaPrinciple diffractedby Maya and Kanchukas
Purasas whichbeliever themselvesseparate
Ascent=Re-integrationby Sadhana
The system of Tattvas,essences or reality-functions
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AL:
Buddhism
Siddhartha( personal name) Gautama(clan), Shak a( tribe)Prince of Kapilavastu,
also known as:"Buddla" "Enlightened,"Shakya-muni "Sage of the Shakyas,"
and Tathagata "One Who Has Won the Truth"
born? c. 563-483 B.C. written about in Ceylon c. 80B.C.The biography of Gautama Buddha was written down some five hundred years andfive hundred miles from where he had lived so much may be myth.
He waS most interested in stopping the cycle of rebirth and came to therevelation that Ignorance was the key to the cycle.
"This, then, is the cause of suffering in the world of beings:
and this, thereThre, is the method l-br its discontinuance."
from 1, ignorance, there proceed in series: 2. acts3. new inclination, 4.incipient consciousness (portending further life), 5. an organism, (). organsof sense, 7. contact, 8. perceptions, 9. desire, 10. attachment, 11. rebirth,and 12. old age, disease, and death.
Ile saw that Karma demanded new reincarnation to atone for past evils.Only lack of cravings in a life of perfect justice would prevent rebirth.In order to acheive Nirvana (state of happiness acheived through theelimination of earthly desires, the liberation from rebirth, annihilat otindividual cons('iousness, or union with God) should iollow
"The Five Nloral rules"1. let not one kill any livin being.2. Let not one take what is not given to him.3. Let not one speak falsely.4. Let not one drink intoxicating drinks.5. let not one he unchaste.
As defined by Reverend Hope .\ung, of the Burmese order,the Nlain stages of insight of the Ilinayana Buddhist yogi passage:
1. The insight that all is impermanent, sorrowful, and without a self2. The insight regarding the beginning and ending of things
"Ille insight regarding the destruction of things4. The insight that the world is dreadful5. The insight that such a dreadful world is full of emptiness and .tnity(). The insight that such a world should he loathed7. The insight that thc world should he forsakenS. The insight that liberation should be realized9. The insight that equilibrium should be observed in spite of the vicissitudes
of lifeThe insight that adaptation has to be made for the realization of nirvana.
Buddhism
Bodhisattva "one whose being (sattva) is enlightenment (bodhi)"early define those who were to become Buddha in the future, later
became the sage who while living in the world, had reflused the boon ofcessation yet achieved realization, remains as a guide to the rest.
Mahayana the great(Maha) Ferry(yana)" is a vessel in which all mayride since all are already extinct. It is pleasure ride, a festival of joy.
Hinayana, The Abandoned(hina) Feriy"(Vanar, is small, hard workingtransport for only yogis across a sea they despise on the way to nowhereat al:!
later this group become named Theravada " the way of t he elders.
As defined by Reverend Hope Aung, of the Burmese order.the Main stages of insight of the Hinayana Buddhist yogi passage:
1. The insight that all is impermanent. sorrowful, and without a self2. The insight regarding the beginning and ending of things. The insight regarding the destruction of things4. The insight that the world is dreadful5. The insight that such a dreadful world is full of emptiness and vanity0. The insig,ht that such a world should be loathed7. The insight that the world should be forsakenS. The insight that liberation should be realizedo. -1-he insight that equilibrium should be observed in spite of the vicissoucks
of life1,:). The insight that adaptation has I. he made for the realization of nirvana.
"Buddhists are ,..,ptimistic," he \\ " 1-,ecauc2, Ih.u,zh the world is full ,Hfyet to a Buddhist, there is a \\ay
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