The story is copyright© by Debe Campbell, Bali
To experience a Balinese cremation ceremony is both a rare opportunity and a soul-searching experience. Understanding the centuries-old rituals and beliefs that make the custom a tradition among the Balinese Dharma Hindu helps bring perspective to an event, which could otherwise become lost in a smoky mist of confusion.
The days between death and ceremony are spent in intense preparation of
many details and rituals leading up to the event. It is believed that the soul of the dead can not completely leave the body until the body's five elements of air, earth, fire, water and space have been returned to the cosmos. The soul can then depart and find its new life through
reincarnation. Mishandling of any small detail could prevent the soul from reincarnating.
Even a medium-size cremation ceremony costs thousands of dollars and the services of hundreds of family, community members and friends. It may take months or even years for a family to achieve a means of having a cremation. Without the voluntary cooperation of the community, friends and family members, the necessary preparations would be impossible.
The late Rajah admitted he never could have afforded the royal send-off in 1992 for his late wife, without the assistance of the entire community, working in a labor of love and respect, not only to the royal family, but also in devotion to the gods. In fact, the last massive royal cremation in Gianyar included the Rajah's mother and four stepmothers.
Likewise, poorer villagers may cremate a dead relative without ceremony or bury it until the body or bones can be retrieved to join in the elaborate ceremonies of a wealthier neighbor when a proper ceremony, such as this royal event, is undertaken. Thus, there were numerous cremations and other traditional rights-of-passage ceremonies taking place in Gianyar on September 23.
A proper ceremony wins prestige within the village and deifies the
ancestor's spirit, which continues to occupy an important role of guidance in their family's lives.
'Series of Events"
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A cacophony of gong noise signals the start of events as the platform-borne funeral pyre is hoisted and moves toward the cemetery or cremation grounds. The cremation ceremony is a joyful event, since the Balinese believe the body is only a temporary, impure shell that contains the soul and holds it to earth.
Huge crowds of boisterous people line the streets, following the laborers bearing the empty sarcophagus and funeral tower ("wadeh" or "bade") on huge, heavy bamboo platforms. They dodge overhead electrical wires and stop to wildly spin and tilt the heavy, tall tower. The dangerous process of spinning the hefty and cumbersome platform confuses the spirit so it will not try to return to the body. A child or family member typically rides with the body or its effigy, clinging to the tower to retain his perch through the event. As the procession continues its course, bystanders splash water upon the platform-bearers, offering cool refreshment on sweltering days.
Other members of the procession carry a long white cloth or "lancingan"
above their heads, symbolizing carrying the funeral tower. Women balance bowls of offering articles and towers of fruit and flower offerings on their heads, as the procession proceeds to the cremation grounds in the cemetery. The sarcophagus is transferred from the bamboo platform to the wooden cremation platform. Priests or family members cut into its back with sacred knives, creating an opening through which the encased body is transferred from the "bade" pagoda tower, to the cremation platform, where the body is exposed and lifted into the sarcophagus.
The sarcophagus is hollowed by hand from a solid tree trunk. The black
velvet cloth and intricate paper exterior dressings in the form of a "lemu" or bull are reserved for the high caste and symbolize the vehicle of Siwa or the aspect of God that represents death. Offerings, many of the deceased's most important belongings, money and holy water are placed inside the "lemu" with the body. All is covered with cloth and the sarcophagus closed. Meanwhile, wood is stacked on the platform and a kerosene torch helps speed the burning process.
When the raging fire subsides, there is little left or nothing of the
sarcophagus. Family members collected ash and bone to crush wrap in white cloth. Other fragments are collected and placed inside yellow coconuts. The priest, perched on the elevated platform, chants magic mantras and rings a bell to release the soul and speed it on its journey to heaven. After family prayer, the ashes and bones are carried to the sea. There, they are tossed into the water or set adrift on a small boat, returning the five elements to the microcosm. Now, the soul can return to the spirit world for reward or punishment, according to its "karma" or deeds during life.
Some days later, a "pamendakan" ceremony installs the departed's deified spirit into the family shrine where it can be consulted and honored by those earth-bound family members.
"The Last Royal Cremation"
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These royal cremation ceremonies incorporate aspects that may or may not be conducted in a normal cremation. While lying in state, the body was accompanied by the presence of people daily. It was offered food three times daily, its ceremonial textiles changed daily and in the evening, songs and readings in Sanskrit were performed from ancient texts inscribed on lontar palm books, to entertain the deceased.
A series of intricate ceremonies preceded the cremation procession by
several days. These included opening the funerary wrappings of cloth and "tikar" grass mat wrappings to clean and rewrap the body in "wastra" white cloth and fine textiles. It is transferred to the "sumangen" pavilion where it will rest for a prescribed number of days, in this case four days for the highest caste of royalty. During this time, the sarcophagus and funeral tower were brought to the "sumangen".
The cremation day was punctuated with many artistic performances of
traditional music and dance, to honor the late Rajah. The royal "sumangen" was surrounded by ancient spears and sacred umbrellas. A separate "bale" structure housed an enormous and intricately carved mythical dragons ("naga banda") with a 200-meter- long, red velvet tail, coiled to contain the five elements required to free and carry the spirit from its human form. This massive carving, decorated in woven bamboo strips, velvet, jewels and filigreed leather was the largest ever created and was crafted under the guidance of esteemed artisan Tjokorda Raka Tisu. The 4-meter-high "lemu" sarcophagus and 24-meter-high "bade" tower were moved into the "sumangen" from which the main procession began passing through a narrow split-gate. The massive "lemu" had horns wrapped in gold and a jeweled "third eye". A dozen high priests and two dozen junior priests and retainers performed the necessary ceremonies. Arrows were shot to the four compass points, the sky and the earth. These are guides for the dragon's journey with the soul into the cosmos. The deceased's life and intentions or his "karma" dictate the ultimate direction.
Throngs of ordinary citizens and tourists gathered in the city center,
before the palace, by noon, awaiting the procession--the city at a virtual standstill. Dignitaries gathered at the palace for an overview of the initial blessings by a series of high priests, whom were bodily carried for the remainder of events, to maintain their higher connection with God. Villagers lined the 2-km procession route to the cremation grounds, while participants holding offerings towering offerings on their heads shaded by sacred umbrellas and playing gongs led the procession to the final destination. The "lemu", supported by bamboo poles and carried by some 200 men proceeded first, followed by the "naga banda", its long tail extended and carried behind. Water tanker trucks sprayed the sacred bearers, and the crowd, scattering photographers and television crews with its wet refreshment.
The nine-tiered "bale" teetered; making difficult swirls and turns before entering the grounds, behind which the hoards of participants followed. Cordoned off by privacy barriers, only the family, invited guest and documentarians entered the sacred grounds, while thousands gathered on the outskirts to observe.
The "bale" tower was "parked" before a ramp, down which the Rajah's coffin was carried, draped in the red and white Indonesian flag. The "lemu" was hacked open and the "lid" removed, the body placed inside the sarcophagus and covered with a maroon velvet cloth bearing the palace coat of arms. Full military honors were presented as more than a hundred arms-bearing honor guards ranked and formed before the pyre--army, navy, marines, police, air force, civil security and the government organization "Korpri". After representative honors were read from the government, interior ministry and foreign department, 10 army soldiers mounted the steps surrounding the pyre to present a rifle salvo. As taps rang out among an unusually silent crowd, the flag was folded and retrieved, the military troops dismissed.
The Hindu Dharma rituals began as four Hindu high priests were physically carried in seated positions, up a 45 degree incline ramp to the pyre. Joined by the Rajah's sons and brother, they received copious offerings of rich textiles, coins, fruit and flowers that were piled into the "lemu"--gifts which the deceased would need in his transition into the next life.
Children gathered holy water used for the cremation from the convergence of two rivers at midnight, the morning of the cremation. After the water was dispersed over the body, the family members smashed the clay pots containers to the ground. They could no longer be used, having served the highest purpose.
The sarcophagus "lid" being replaced, a bracing structure was quickly
constructed to support the heavy "naga banda" which was moved into place with much struggle. After final prayers by the high priest, the Rajah's sons and brother bore cloth-wrapped bamboo poles to the pyre. Lit by the priest, these torches then ignited the "lemu", which in moments caught into a roaring fire. The entire pyre quickly caught and burst into hot flames that drove the family and guests back into a circle encompassing the pyre. This was the moment that the Rajah's soul was thus released into the cosmos to seek its karma and reincarnation.
Within 15 minutes, the entire structure was engulfed in flames, rapidly
diminishing to embers. As the roof structure exploded and scattered clay tiles onto the ground, the crowd began to disburse. Returning to the palace for dinner, the family returned shortly to gather the ashes for a moonlit trek to the sea. The procession to the sea stretched for kilometers, as those paying homage to the Rajah joined the journey by foot to Lebih Beach, about 3 kilometers away. Dozens of families of others being cremated on the same day also joined the procession. In the last royal procession to the beach, for the Rajah's wife's cremation in 1992, the start of the procession reached the beach before the last participants had even left the palace. Later in the night, the "bale" in the cremation grounds will be set to flames
A final ceremony takes place November 4-5, when another pilgrimage to the sea for cleansing is undertaken. Last New Year's Eve, the Rajah gathered his sons and their families at the palace and spoke to them in earnest about a premonition of his death. He told them that even in death, his soul would be with them where ever they went. In his wisdom, he advised them to follow their principles, if them believed them to be right, and to never be opportunistic.
Rajah Agung believed that the three pillars of strength for the Balinese are tradition, culture and religion. His wishes and desires for his own cremation ceremony were meticulously detailed and recorded, from the moment of his death to the moment of his soul's release. And, in these five months of preparations, the family and devoted residents of the Gianyar regency and beyond, strove to carry out the Rajah's wishes to the final degree, to honor their highly respected, democratic and benevolent king.