Traditional Art of the Dandan Wars

Bali Tenganan Pandan War was just for the village of Tenganan.

The Indonesian word for "pandan battle" is a two-word noun; the name of the war dance performed in Tenganan village is "makare-karean." This activity takes place during a ceremony at the temple "Ngusaba." This is odd because other Balinese are also familiar with this kind of ceremony, particularly those who reside in the lowlands and utilize the "Ngusaba Nini" rice irrigation technique. The main purpose of this event is to request a successful rice harvest. This ceremony, which is not a typical ceremony in the lowlands, is decided upon by village elders and ritual leaders in a plenary conference.

The Pandan War is a regular ceremony based on the Çaka year calendar and is held at the village temple. Whereas in the lowlands, especially in Gianyar Regency, this is done for a ceremony called "Maleladan" (a procession along the village's main road to the temple). It's difficult to understand who influenced whom in this case. Judging from the name of the ceremony, it must be lowland influence, because of the rest of the ceremony and the terminology of the adat organization.

Tenganan is particular, and "Ngusaba" is a word that was used by mid-Balinese speakers (c. 14–16 centuries BC), when Majapahit influence was growing. A lunar calendar called aka year was developed 78 years after the Christian Era (78 Anno Domini). It is nearly hard to predict the precise International Calendar date on which this ceremony will take place because it is based on the aka year and the Hindu-Javanese calendar. Only around six months prior to that day can we determine the precise date. The Hindu-Javanese calendar has 210 days in total.

The Balinese combine and blend the two of these systems.

Therefore, there are ceremonies every 210 days as well as every 365 days.Despite the fact that Bali Aga village is distinctive, people there tend to think very similarly. They include religion, customs, art, architecture, economy, and other cultural elements into all of their works and projects. Dance is one instance. Dance is valued as a form of entertainment, education, and ritual. While dance can be a performance of any type of art, it is often the behavior of animals that inspires artists to mimic and transfer into dance, such as the idea of female beauty, warrior power, prime minister's wisdom, etc.

There are no specific fighting guidelines for makare-karean or pandan conflict, except that younger people are typically taught to dance. Instead of calling pandan war dancers, the term "warrior" may be more fitting. In order to shield their bodies from opponents' provocations, the combatants carry prickly pandan leaves while holding bamboo or woven rattan in their other hands. Only the referee is involved. During the altercation, thorny pandan leaves scratched the flesh and brought on blood. Following the struggle, no one is immune to pandan leaf scratches; only smaller or wider scratches are safe. The ritual master blesses the soldiers with holy water and administers oil streaks produced from healing herbs. No affection between the parties could be felt

According to a number of literature, the pandan conflict is associated with a ceremonial that is essentially a blood scarification. First off, I am completely aware that these conclusions could be founded on inaccurate sources and informants. As you may have heard, religion among the Balinese is more like water flowing over different lands than a social institution; whenever water flows over red soil, it turns red, and whenever it flows over black soil, it turns black. In order to understand the true concept, we must sift through all the details. It appears that in the past, religious authorities did nothing more than watch religion develop sporadically and in line with regional paradigms..

There is a ceremony in Bali called "Tabuh Rah" that uses blood, however they only utilize the chicken or egg of time's blood as a representation of the underworld (a strong influence from the ancient Buddhist left hand path).

The animistic notion that the world is divided into three levels serves as the basis for our concept of the underworld:

1. The gods' home is at the highest level.

2. Humans reside in the middle level.

3. The lowest level, often known as the underworld, is home to lower-class beings like natural spirits, dead spirits, and unseen animal creatures.

The "Tabuh Rah" ceremony honors this underworld, which was the object of a ritual performed to the goddess of death at the outset of Bali's Tantrayana Buddhist sect. Because Bali's and Indonesia's Tantrayana schools also employ blood as a symbol to incite strength and power in their rivals and foes. However, this is merely a symbol and makes no mention of the fact that it contains human blood. This custom sparks a great deal of interest in Bali Tours from both domestic and foreign tourists who want to experience the distinctiveness of Balinese culture firsthand.

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