Beruk, Object Reflections

^{Culmination | Calm In Nation brings together artists from different disciplines and backgrounds. Joined only by their desire to share a message toward community. Towards a wider world. Through their work, that it may inspire or provide momentum in themobilising of a greater positive energy that may impact community in a helpful way. Whether by individual awareness or collectively.}

What is ‘Beruk’?

Sujana Suklu remembers in his memories a time when he would see farmers in the rice fields accompanied by the bruq when they set out to work. This is by way of a simple introduction. Perhaps to something layered with very deep reflections.

More than a Water Bottle

When discussing the creative process, inspiration and background of ‘Mystical Witness’ with Sujana Suklu, there is undeniably something emotionally moving that is triggered when we look at ‘beruk’ and sit in its presence. I wonder about this phenomenon. I cannot help but feel that I am not simply sitting with a water bottle on the table. There is a plastic tumbler not far away from us and next to it is the ‘beruk’, also a water bottle. Objects are undeniably created for the same purpose, but why do they feel so different?

I often ponder on the mysterious nature of memories. Something that we as human beings cannot choose in what form our memories manifest. We cannot choose what we forget or what we wish to remember. Do objects have memories? Is this what reverberates through old artefacts and becomes this intangible feeling that moves us when we hold it today? The imprints of so many people before us over the years who have touched and held it, receiving sustenance from it. How many hands have grasped it and quenched their thirst on a hot day, in the fields of this island? Is that what has remained in the bruq? those memories? A collective memory imprinted on this modest and yet dignified object.

Collective Memories and Identity

Sujana Suklu mentions something similar in his recollections. In his memories, the ‘beruk’ does not belong to any one individual. The ‘beruk’, in past social conditions, through the ritual of working the fields is present as an object that belongs to everybody, to anyone thirsty. Everyone seemed to have the right to drink from it. For the artist, this object is layered and imbued with far deeper significance. Pertaining to the safekeeping of local uniqueness, and cultural heritage. That which embodies Balinese true identity. A topic that is raised often with much concern, as we face an age of modernised assimilations. Endangering the survival of unique local identity.

Suklu and Beruk, an Ongoing Journey

The artist has raised ‘beruk‘ in his work since 2005. It returns here to the Culmination Visual Art Exhibition to pass on its memories as a reminder of something profound for our future. An object that carries within it powerful revelations of Balinese spirit and identity. The name he has chosen for this installation guides us further. Elevating the ”beruk’ to its rightful position. An object that has become increasingly overlooked but has remained a silent witness to all our changes.

We start with the agrarian culture artifact bruq. Beruk for water.. it holds a social function. It is to hold water like a kendi. Usually, the farmer will take this to the rice fields. Usually, when someone takes this into the field another farmer is generally going to ask for water. This artefact reflects this theme. This is something that I have raised since 2005. By chance there was Biennale Bali, the first and last, I represented this and made it into a 2-meter object as a requirement for performance. Also, this setting was created in Grand Nina Sanur. There was a performance there together with Jasmine Okubo also Susi Sulaeman. I gave this object many branches around it .. perhaps as a result many dragonflies gathered around the work. This was in 2005. Later in 2006 this artefact was taken to Yogyakarta and was responded to by other artists. For a few years, due to other commitments, I have not raised this topic again until now. This time in Santrian I am raising the Bruq again.

Sujana Suklu

Bali’s life philosophy reiterates dualities and balance of opposing forces consistently (Rwa Bhineda). The dual dimensions of Niskala Sekala. Spirit and Material. Water and land, the frog exists in both, just as humans are called to have a balance between spiritual and material living.

Sujana Suklu’s Three Rooms of Art

It is worthwhile to consider the complexity of the artist’s creative process. He explains he has three rooms of art: art for the self, art by interaction and art for the community. Within this second room of Suklu’s art, specific dialogues with the environment, objects and architecture are often explored and he has found that art may transform directly from these outside elements. Here within Mystical Witness, the artist’s interaction with ‘beruk’ culminates as he places into the vessel his thoughts and reflections for safekeeping. A resolve to safeguard the memories of past generations so that they may reach the ears of future generations.

In August 2024 there will be the Indonesia Bertutur Art Cultural Festival. The theme in Mystical Witness relates to the work that will be presented there. I have selected Rumah Topeng as the location. In the field, I will make an installation work. A house made of bamboo, as an altar. It is connected to the agrarian culture because it is connected to subak. Aspects of ceremonial, structure and origins of the subak system.

Sujana Suklu

Beruk, Object Reflections

A Social Message

Part of the message I am sharing relates to our heritage and origins as an agrarian culture. Our roots are there. The new generation today is perhaps more enticed by materialistic and modern culture. In the village, they still do ceremonies however we do not know if this is truly understood by the young generation. Perhaps it is more of a habit. This is expressed in Mystical Witness, as the artefact ‘beruk‘ is like it is frozen but I believe it still has value and energy. It just depends on who can and will revitalise it. This is what I am doing to raise this theme to give it energy. Perhaps people will see it again, pay attention and take note of it again.

I hope that others will join in to give meaning to ‘beruk’ and what it represents. Whether it is from musicians or writers, this artefact has a strong social value. How can we revitalise it is very dependent on our collective evaluation today.

Sujana Suklu

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