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Commodifying Culture. A Conversation with Anak Agung Gede Putra on the changes of culture as reflected through the changes in the art of Ogoh-Ogoh.
Anak Agung Gede Putra is active in social and cultural segments. Head of Kagama and board member of several foundations. Experience in finance, marketing and business acumen lends its perspective whilst driving cultural sustainability.
Estimated reading time: 11 minutes
Commodifying Culture. Success or Failure? Change we know, is inevitable. Change in culture and behaviours within social constructs is inevitable. As we approach and celebrate the holy period from Galungan to Kuningan, this special period allows us to think more deeply about the significance of change. Whether they are deliberate choices or situations we go along with due to its overwhelming powers of influence.
The heartbeat of Bali is different during this time. As the whole island of its native inhabitants all move in a direction towards home to undertake their prayers and offerings, the biggest celebration in their calendar year. Just like Christmas and New Year’s, this is a colossal wave across the whole province. It is the centre of our discussions at the round table in our coffee room.
One such conversation was that of the Ogoh-Ogoh festival, celebrated during this period. Sitting down with Joo Peter and Agung Putra one day, aspects of the Ogoh-Ogoh festival were discussed from many perspectives. Filmmaker Joo Peter has been working on a documentary on the Ogoh Ogoh festival, so naturally, it was a topic energetically discussed together.
Ogoh-Ogoh of Pengrupukan Day
Those familiar with the concept of Ogoh-Ogoh may recall big, scary-looking demons and monsters being displayed throughout the streets of Bali during this period. The meaning of the ogoh-ogoh is often not as clearly understood as the enjoyment of it simply as a visual spectacle. The ogoh-ogoh parade takes place the day before Nyepi in a ritual called ‘pengrupukan‘. These two days are connected. As one is a preparation for the other. Pengrupukan is when the community cleanses their homes and environment of negative energies. It is about restoring balance and re-establishing peace after chaos. Dr. Mas Ruscitadewi elaborates on this elemental relationship in her article Kala-Kali, Chaotic Times.
Ogoh-Ogoh parade Mas, Ubud 2023.
The Ogoh-Ogoh are sculptural representations of the chaos/negativity that we wish to purify. Today, representations in Ogoh-Ogoh sculpture has changed dramatically with a wide berth for creative license and interpretation. The visual and technological changes are very obvious in the modern Ogoh-Ogoh. Today the Ogoh-Ogoh sculptures employ different mechanisms and they are more technologically advanced. With moving parts and sometimes an accompanying light show.
The Significance of Changing Symbols
Agung Putra recollects a different memory of the early days of Ogoh-Ogoh. Originally, Ogoh-Ogoh were sculptures/puppets that were simply part of the Pengrupukan ceremony. They were not the highlight or the feature of the ceremony, but a complimentary symbol accompanying the cleansing ritual of Pengrupkan. In the early days, it is a lantern that is the central symbol of the village procession to cleanse negativity.
“The Ogoh-Ogoh in my memories when I was little is not like it is today. In the past, Pengrupukan Day or the day before Nyepi was carried out with a torchlight procession around the village. Even if there is an ogoh ogoh figure of Bhutakala being carried and paraded, it is not as big, as good or as luxurious as it is today. In the Balinese language, Ogah means being lifted and carried or rocked. Maybe that’s what makes his name Ogoh-Ogoh.”
Agung Putra
Nyepi, Declaration of a National Holiday
“The determination of Nyepi as a national holiday in 1983 was one of the drivers of public euphoria in celebrating Pengrupukan Day. Nyepi itself is a unique phenomenon in the world. Awareness of Bali as a tourist destination inspires creativity among tourism stakeholders. Unique culture and traditions always inspire “culture businessmen” to turn every event into a commodity that can be sold.”
Agung Putra
So when you take away the fanfare and get to the bare essentials, you start to see that the changes taking place are monumental. First of all, Ogoh-Ogoh sculptures today have taken over the focus of Pengrupukan. What are the subject matter of the sculptures? For the most part, they still have associations with Bali Hindu spirituality, but more and more, there are contemporary variations of Ogoh-Ogoh that show aspects of popular culture from Western/European sources.
In recent years there are characters from business franchises that were made into Ogoh-Ogoh as statements of criticism or protest. The creativity is wonderful and exciting, and it reflects the nature of the social conditions voiced by the younger generation. In saying all this, may we step back a little, and get a sense of the implications of these changes?
Implications of Present Changes
What does it reveal to us about the changes in Bali’s overall cultural landscape? Originally, Ogoh-Ogoh were purely for ceremonial and ritual purposes. They were simpler, symbolic representations part of a traditional community purification ritual. In its earlier forms, Ogoh-Ogoh was burned at the end of the procession at the cemetery. This practice was integral, an act of cleansing and restoring balance to the energies in preparation for a day of peace and reflection, Nyepi. Today Ogoh-Ogoh are often not burned or destroyed. Most likely they are kept, recycled or sold to the highest bidder.
There are now Ogoh-Ogoh museums where they are kept and displayed as valuable works of art in their own right. They have morphed and transitioned into hybrid beings with multiple functions. Does this equally reflect that Balinese identity is experiencing the same reality through a process of commercially motivated assimilation? A shift of this magnitude can only occur when major administrative and economic factors support it.
Administrative and Economic Assessments
Agung Putra
“During Nyepi, the day of silence, lots of hotel rooms, and flights are stopped. The flow of transportation from outside to Bali into Bali has stopped. Nyepi is only 1 day however tourists are trapped on the island with no entertainment. So the choice is to make the Nyepi celebration day still interesting. Pengrupukan is a ritual that can be packaged, modified and sold. The government takes a role. Especially the Badung and Denpasar Governments held ogoh-ogoh competitions. The young generation of sekeha teruna teruni in the banjars was “mobilized”.
Agung Putra interestingly articulates this. Suggesting that the phenomenon of the Ogoh-Ogoh festival present today was brought about the moment Nyepi was declared a National Holiday. The tourism mindset is very much the driving force behind the transformation of Ogoh-Ogoh into what it has become today. Yes, this is a Balinese tradition. However, it would not be remiss to reflect on the changes that are occurring at this scale within our ‘cultural activities’. Just so that we understand the shifts occurring to our collective cultural identity.
Cultural Traditions meets Target Market
The form of this tradition 50 years ago is very far from what it is today, with many unique variations specific to local villages in different parts of Bali. Passing down unique ancestral practices specific to each village in a tradition rich in cultural diversity. In contrast, the present focus has shifted from an act of communal ritual to that of a festive state competition, with a target audience marked in the tourism sector. It is a successful transition carefully orchestrated by the government to make sure that the Nyepi festival does not disrupt the flow of tourism activities in Bali.
A Different Definition of Success
“Success. The winning village or banjar that makes the best ogoh-ogoh is made famous and proud. At least among or between those involved in the competition. Competitions are always able to attract participation. When there is keen participation, excesses are always there. You will find crowds. Crowds always produce excitement and various opportunities and may also invite chaos and even riots. The torchlight procession transitions to the ogoh-ogoh parade. And interestingly, there is always alcohol in these series of events. ‘Arak arakan’ (the parade/carnival) is impossible without Arak (Balinese spirit drinks). Young people build their narratives and choose their way of creative expression. The procession of ogoh-ogoh is a celebration party with the addition of tuak or arak parties. Of course not in all banjars, not in all villages. But, in general, there is.”
Agung Putra
A celebration, a party at a grand scale. For a marketing campaign, this is an absolute success, with multiple channels for revenue. Highlighting cultural activities for sustainable heritage? Is it inevitable then that perhaps the Pengrupukan ritual has transformed equal to that of Christmas, Easter and Halloween? How many people truly understand how Christmas came to be the way it was? For example, it is a mixture of Nordic legends with flying reindeer, snowmen, elves and angels, all jumbled together with the birth of a baby in a manger over 2000 years ago. How the Easter Bunny has become the successful brand mascot of a Martyr’s crucifixion and resurrection? Perhaps we should not be so surprised. It is only a matter of time that Bali, so central on the global stage, is bound to have their ‘demons and monsters’ become the main attraction by way of a festive carnival.
The Phenomenon of Cultural Transformation Through a Marketing Success.
When a culture has become a successful commodity, the slippery slope is one that everyone enjoys. However, is it simply evolving naturally, or is it a transformation of identity that is in danger of diluting its original truth so much that it may be forgotten? Is the Ogoh-Ogoh pandemonium the first cultural festival in Bali that has truly been shaped and born out of the tourism machine?
“Media discussions and reviews about ogoh every year, since 1983, have always been lively. Religious institutions and traditional institutions take a role and have opinions. Entrepreneurs and community leaders all discuss and share their opinions. Ogoh-ogoh becomes a business. Orders for making ogoh-ogoh become a commodity. Small ones are made as souvenirs and are easy to get through street vendors from February. Different sizes are being created to fulfil orders from schools or residential groups for attractions and celebrations.”
Agung Putra
The Ogoh-Ogoh of old were simple creations, symbolising aspects of human character that we wished to cleanse ourselves of. However, now they are giant monoliths. With this in mind, I have a fanciful thought that perhaps human negativity has also grown in the same extremity. For instance, the fact these sculptures have increased in size is perhaps a poignant reflection of reality.
They have become more robotic, and more technologically inclined. This is certainly a reflection of society today. Our psychology and behaviours have fused with our dependence on technical aids. Digital presence is already in the Ogoh-Ogoh. Commercial mascots appearing as Ogoh-Ogoh, are a reflection of the times. similarly, Western and European popular culture figures seep through into the festival, also definitely a true reflection of the times.
The other significant change is that the Ogoh-Ogoh itself are not burned at the cemetery. If we reason strictly by the original beliefs, then the community is not destroying the negativity in the same way to restore balance. Instead, what is happening now, the representation of negativity is being kept, recycled or sold to the highest bidder. Interesting, is it not?
The Start of a Contemporary Tradition
“Balinese people are not only Hindus. When the Nyepi celebration coincides with the holidays of other religions, especially Muslims, it requires arrangements and discussions between stakeholders. Regarding the theme of the form and representation of the ogoh2 characters, this also generated discussion. The influence of Hollywood, television, and pop culture produces new interpretations and reinterpretations. The use of environmentally friendly materials and socio-economic impacts become news and discussions from time to time.”
Agung Putra
Images of ogoh-ogoh by Joo Peter.
“Ogoh-Ogoh lovers are no longer just Balinese. Tourists and television viewers around the world are a new market. All pointing toward Indonesia and the world where there are Balinese people start making ogoh2 and partying. Like finding the appearance of the Chinese lion dance in various parts of the world, including at the White House. Ogoh ogoh is a ritual that has been commodified. Strengthening the inheritance of meaning and values to future generations is very important.”
Agung Putra
Commodifying Culture. Marketing Success, Cultural Failure?
The Ogoh-Ogoh festival is a cultural festival. In saying that, changes in culture are inevitable. In this instance, culture is a commodity, without a doubt. As mentioned throughout this article, the phenomenon is not a new one. Christmas, Easter, Halloween, and Valentine’s Day, are all marketing success stories where private and public sectors have strategically optimised the economic benefit from a practice that has a guaranteed market. So if it is inevitable, it is no longer a discussion about whether this should or should not be.
Most importantly, this transformation has already happened. Therefore the question we have to ask, ‘Is it happening with due consideration of the true impact it has on its authentic cultural origins?’ It is important to note that Ogoh-Ogoh is now changing into a state parade. With the hope of attracting a national and global audience. With that in mind, then it is fair to say the management must also raise its level of professional execution to that of an international level. A marketing project that takes full consideration of environmental, social, and cultural impacts not just for today’s profitability, but for the long-term sustainability and welfare of the community and the generations to come.
Balinese culture is very competitive to the point of crass commercialism. Religious ceremonies are an example of this, in which people try to outdo their neighbors and villages make more lavish and expensive offerings than other villages. They forget that the rituals are for invisible beings, who care more about sincerity than size.
Indeed. Such is the reality of spiritual life in Bali. In some cases, their philosophical values lose their meaning. This is also part of the negative impact of cultural commodification.