Pande Wayan Suteja Neka, Culture and Sustainer Heritage of Keris in Bali

I.                   Introduction

Discussing the problems of culture and tourism in Bali cannot be separated from the role of the maestros in carving Balinese civilization and culture. Without their role can not see the development of culture and tourism in Bali as it is now. This can be seen in a broader context, namely from the historical aspect that gives us understanding in understanding the dynamics of a civilization and culture. In other words, the discussion of a character should be seen from the historical aspects which include how the role played is included in the structure of the cultural environment that surrounds it, both in relation to the existing context and analysis of cultural ties that surround his life.

This paper focuses on the study of the role of a prominent Balinese artist who has not been touched upon either in the analysis of works of art or in relation to the biography of art history. This theme, which is considered interesting and important, is the reason why Pande Wayan Suteja Neka's character and role model are discussed on the surface in the context of the contestation of Balinese artists, foreign artists and the cultural values that surround them.

The question addressed in this paper is first, why is the role of Pande Wayan Suteja Neka considered in the dynamics of culture and tourism in Bali? Second, how does the contribution of thought in the context of its creative power be considered as having superior value in the arts? And third, how exemplary values can be raised and disseminated in an effort to increase the potential of Balinese culture and art in a sustainable way not only in Bali, but also in the national community, and even internationally.

II.                Results and Discussion

Most of Indonesia's cultural and artistic diversity is manifested in the form of oral heritage. Therefore the role of cultural actors as heirs to the whole culture is central. A traditional art figure can be likened to a 'home of culture and walking knowledge'. When a culturalist and artist of our tradition dies, cultural knowledge is brought along with his death. If we have not had time to prepare an heir from the house of knowledge, we will experience a great loss. Therefore, maestro Pande Wayan Suteja Neka as a cultural and preserver of a keris heritage in Bali deserves to be written, because this figure inspires many young artists to be creative in accordance with the demands of the times.   

Keris is one of the very special and amazing cultural heritages that is owned by the Indonesian people. The specialty of a keris as a product of art is not just the uniqueness of the choice of materials or materials and the manufacturing process, but also lies in the historical value, the philosophy contained behind each type of keris, up to the character symbols of each keris prestige. The values ​​of character symbols contain the teachings of life that refers to the philosophical values ​​contained in the kris. Keris is a cultural property that contains technical knowledge, customs, and the meaning of community behavior inherent from long ago.

Keris as a creative work of art craft of the Indonesian people, has received awards and recognition, not only from the Indonesian people themselves, but also from the world community represented by UNESCO. International recognition and recognition of the keris mandates the Indonesian people to optimally strive to preserve the keris as Indonesia's world heritage. Conservation efforts contain understanding as efforts to protect, develop, utilize and maintain cultural heritage for the welfare of the nation's life. Keris as a valuable work of the Indonesian people is an heirloom containing philosophical, religious, artistic, and cosmological values, related to the local wisdom of the archipelago, and must be studied and preserved.

Discussing the world of keris is certainly inseparable from the supporting components of society including the craftsmen / keris makers, traders, collectors, and observers. Armed with self-awareness about the importance of preserving the keris, this article intends to discuss the keris, especially about the figure of the keris collector named Jejeneng Mpu Keris Pande Wayan Suteja Neka, with a view to respecting his devotion and characterization, also no less important is to preserve the keris world as a keris national cultural heritage.   

Keris is one of the distinctive cultural products of Indonesian people that spreads almost throughout the archipelago. Especially in Balinese society, the existence of keris from ancient times until now is still actively used both in aspects of religious needs and in other aspects of culture. In Bali, in general, see the heirloom kris as a pajenengan kris, a symbol of the universal ancestral power. The pajenengan heirloom kris is a kris that is sacred through the Pasupati ceremony so that it is believed to have a strength / power and has the nature of a candel or become a banquet.

The work of art maestro Pande Wayan Suteja Neka in the world of percussion in Bali is indeed worthy of note. Since becoming curator of the keris and displaying the keris in a special room at the Neka Museum, the world of percussion in Bali seems to get a breath of fresh air. In the past, the keris was only seen as a complete ceremony, but now it is more than that. The kris turned into an art object, as well as an exalted cultural object. Even people who used to only like the ancient keris began to be attracted by the new keris (kamardikan), after seeing the collection of the Neka Museum's keris.

Pande Wayan Suteja Neka is not afraid to display the name of the present keris MPU, although the MPU is still relatively young. The most important thing is that the results of his work are good and worthy of display, especially those with achievements. Pande Wayan Suteja Neka's disinclination towards the ancient keris makes it a respected keris collector. Without realizing it, by opening up to the kamardikan kris, Pande Wayan Suteja Neka revived the world of keris in Bali. Pande Wayan Suteja Neka manifests his concern and dedication in developing the keris by building a permanent keris exhibition space at the Neka Museum.

As a tribute to his achievements, Maha Semaya Pande Residents of Bali Province / Center awarded the title as "Jejeneng Mpu Keris" on the Landep Tumpek Day which is a holy day to glorify dagger and iron weaponry equipment, on January 17, 2009.

III.             Conclusion

Pande Wayan Suteja Neka as the founder of the Neka Art Museum which is engaged in the field of fine arts including the keris (chrisology), seeks to contribute positively to the fine arts of the archipelago, especially Bali, to be present in the midst of domestic and foreign communities. Neka Art Museum is in the realm of the fine arts of the archipelago as a source of information, a source of inspiration, a means of documentation, cultural preservation, education, cultural arts research, a means of cultural promotion, tourism objects and community service.

The implication is for the general public, the Neka Art Museum is a vehicle for the enjoyment of art to the wider community, media information, and cultural tourism. As for artists, the Neka Art Museum is a place for comparative studies, exploration and maturation of inspiration to produce new creative and high-quality works. For the academic world, the Neka Art Museum is information, a source of inspiration, a means of education and research, cultural documentation, supporting government programs to participate in preserving national culture as a national identity.