Ganesha Moves Everywhere
Her fusion with Ganesa makes Edi Sedyawati synonymous with Ganesa, so she is honored in this "tribute" book.
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In March 2024, Borobudur Writers and Cultural Festival (BWCF) published an ambitious book: Tribute to Prof Dr Edi Sedyawati – From Ganesha to Tari. It is called ambitious, because the compiler of this book very painstakingly collected long scientific articles from 69 authors. So, the thickness of the book reaches 1069 pages. It's certainly spectacular. Even compared to the book Rejecting Plague published by BWCF 2020 (volume 1: 912 pages, and volume 2: 866 pages), the book Ganesa is one step behind.
However, the content of the book Ganesa is no less interesting. And it all started with the story in 2002, when Diane Butler conducted an initial consultation at Edi Sedyawati's house in the Menteng area, Jakarta (Diane Butler, PhD, Prof Edi Sedyawati and Cultural Heritage: Generous Gestures and Wisdom, page 6).
It is told there that Edi shared a very valuable writing that began with his thesis: "The Artistic History of Ganesha in Kadiri and Singhasari - A Historical Review". A monumental thesis that eventually led Edi to earn his doctorate degree. And then it was published as a book with the same title by Ecole Francaise D'extreme-Orient (EFEO), the Indonesian Institute of Sciences (LIPI), and Rijksuniversiteit te Leiden in 1994.
Ganesha—a fat creature who always looks calm—is apparently able to move anywhere! He is a god who develops thought and knowledge.
His fusion with Ganesha is what makes Edi's name synonymous with Ganesha, so it is upheld in this tribute book. In one review, Prof Dr Agus Aris Munandar wrote that Edi's study was very complete. With the support of extensive data, the Ganesha statues are detailed iconographically and iconometrically, accompanied by descriptions of inscriptions that touch on literature and music (Ganesa statues in Hindu-Saiva temples in Java, page 38). It even touches on dance, an art form that Edi is very fond of. In this way, the title From Ganesha to Dance for Edi's tribute finds its relevance.
We know that Edi Sedyawati, who was born in Malang in 1938, is a renowned Indonesian archaeologist. She has served as the Chair of the Archeology Department at the University of Indonesia (UI). Her seriousness and accuracy in researching Ganesha statues led to her appointment as the Head of the UI Center for Social and Cultural Research.
Aside from being an archaeologist, he was also a passionate dancer. "Archaeology is a study, dance is a hobby," he said. He performed (especially Javanese dance) on many occasions, until he was eventually appointed as the Chair of the Dance Department at the Jakarta Institute of Arts (formerly known as the Jakarta Institute of Arts Education) and also the Chair of the Dance Committee of the Jakarta Arts Council. The pinnacle of his career was when he was trusted to be the Director General of Culture at the Ministry of Education and Culture from 1993 to 1999. This recipient of several awards, including the Bintang Mahaputera Utama RI and the Bintang Chevalier des Arts et Letter from the Republic of France, passed away in 2022.
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Edi Sedyawati
This book divides its writing into three parts. First, about the character of Ganesa, second about the behavior of Ganesa which eventually develops various sectors of life. Third, about technical matters related to the preservation of cultural heritage and laws.
Regarding the figure of Ganesa, Ashar Murdhihastomo & Sukawati Susetyo delivered an interesting study. He said that the statues of Ganesha in Torongrejo, Ancient Mataram, Singhasari, Kadiri and Majapahit have four different styles. Comparisons were made based on the depiction of several attributes, such as the throne, crown, decoration on the stela, decoration on the sirascakra, direction of the trunk, shape of the upawita, objects held, cloth ornamentation, and special signs (Ganesa Torongrejo in the Context of Sculpture Style i>, page 305).
The richness of the Ganesha style was expanded by Slamat Trisila who discussed the Ganesha statue in Blitar. The Ganesa Bara statue in Tuliskriyo Village, Sanankulon, has a unique shape because it has two different sides. The front is in the shape of Ganesha and the back is in the shape of a kala statue, or an evil giant human being (Ganesa Bara Statue in Blitar in Socio-Historical Context, page 601).
Apart from the cute Gebang Temple style Ganesa (only 46 centimeters tall), there is also the typical Puseh Temple style Ganesa, Bali. Ganesa, who is also called Ganapati Pura Puseh, is believed to be a god who is able to destroy obstacles. ”Protects from bad luck, plague, and plant pests. Ganapati is believed to have authority over Buthalala, a symbol of negative energy” (I Ketut Eriadi Asriana, Tracing Traces of Ganapati Worship at Puseh Temple, page 401).
Also read: Ganesa Between Dogma and Artistic Expression
If the discussion of Ganesha's form is deemed complete, we can move on to Dr. Lydia Kieven's writing which discusses three reliefs in two temples in East Java. The reliefs depict the world of music and performance.
The relief at Kendalisodo Temple depicts Ganesha playing a vina musical instrument (resembling a mandolin). Relief at Jago Temple with a vina-like musical instrument. Meanwhile, in the relief of Sukuh Temple, Ganesha performs a ritual performance. There is a picture of a workshop with a number of blacksmiths banging their tools to produce loud sounds with a musical rhythm. The musical rhythm causes an elephant (Ganesha) to dance. (From Vina to Ububan - The Function of Music and Performance in Reliefs in East Java Temples, page 94).
Ganesa dancing, or Nrtya Ganapati, was also specifically discussed by Atina Winaya, showing the Ganesa located at Lakmana Temple in Khajuraho (central India) and at Hoysaleswara Temple (southern India) which were built in the 10th century.
”The one in Khajuraho Ganesa is depicted as having 8 arms and holding an elephant staff (ankusa), prayer beads (aksamala), an open lotus (utpala) and a snake. One hand is broken and the other two hands show dancing movements....In the Hoysaleswara Ganesa is depicted as having 6 arms, with one of them carrying an ivory (danta) and a sweet bowl (modaka ). Ganesha is also depicted dancing” (Dancing Ganesha, page 316).
(From this, we can ask: is Edi's compatibility in dancing due to following Ganesa's lifestyle, who apparently loves to dance? Or on the other hand, is it because Ganesa loves to dance that Edi falls in love with Ganesa?)
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Journalists witnessed the Ganesha statue on display at the Indonesian National Gallery in Jakarta on Monday (27/11/2023). The Indonesian National Gallery collaborated with the Indonesian National Museum to hold an exhibition of repatriated collections of artifacts and historical objects.
Ganesha's unique and far-reaching influence is told a lot in this book. Regarding apem cake and serabi, for example, which turned out to be Ganesa's favorite snacks (Ary Budianto, Modaka Patra, The Story of Ganesa's Sweet and Savory Snacks, page 253). Also the lyrics of famous Javanese songs, such as "Lir Ilir", "Turi-turi Putih", even "Caping Gunung", which are the result of the influence of Ganesha's teachings. (Triyono SS, MPd, The Dimming of My Sunlight – Jodir Traditional Art in Tulungagung, page 1003).
Then watch this interesting ritual scene. At the Arumilgu Manakula Viyanagar Devasthanam, a temple specifically for the worship of Ganesha in Pondicherry, southern India, there are ceremonies held in August-September. Before entering the temple, some devotees must slam the coconut husks (which are provided there) first. Seriously, coconut is one of Ganesha's favorite foods! "Slamming coconut fiber in the Hindu tradition is a metaphor for breaking the ego and a symbol of surrender, sumarah to Brahman" (BWCF curator, Remembering an Master, page VI).
Ganesa - a fat creature who always appears lethargic - is actually able to move anywhere! He is a god who develops the mind and knowledge. He is a teacher who teaches how to maintain behavior and care for the earth. He is also a god who invites literature, music, and dance. Like Edi Sedyawati.
Agus Dermawan T, Writer Buk; Culture and Arts Observer
Agus Dermawan T
Book Data
Book title: Tribute to Prof Dr Edi Sedyawati - From Ganesha to Dance
Editor, Language Coordinator: Seno Joko Suyono, Lesta Alfatiana
Author: Dr Diane Butler and 68 other Authors
Introduction: Hilmar Farid, PhD
Publisher: Borobudur Writers and Cultural Festival 2023
Year of publication: Print I, March 2024
Book thickness: xxiv + 1069 pages
ISBN: 978-623-98637-5-3
