The Sanghyang Penyalin Dance

Pancasari – Bali is indeed known for its diverse and unique traditions. Each tradition has its own meaning, and every community considers it a heritage from their ancestors that must be preserved.

The Sanghyang Penyalin dance in the pakraman village of Pancasari is a dance that is sacred to the local community and is still maintained as an integral part of religious ceremonies. The presence and performance process of the Sanghyang Penyalin dance in the pakraman village of Pancasari, Sukasada Subdistrict, Buleleng District, takes place at Pura Dalem and involves a procession, accompanied by the singing of dharmagita, especially the sanghyang chant.

The Sanghyang Penyalin dance is also performed during specific temple ceremonies. The preparations for the Sanghyang Penyalin dance performance include: (a) segehan: white, red, yellow, black, and multi-colored; (b) tetabuhan: new water, tuak, arak, and brem; (c) canang: canang sari and buratwangi; (d) banten gebogan; (e) pejatian. The function of the Sanghyang Penyalin dance performance in the Bhuta Yadnya ceremony serves as a means to ward off misfortunes or to drive away Bhuta Kala that disrupts the welfare of the community. The Sanghyang Penyalin dance in the pakraman village of Pancasari is very unique and distinctive. It involves the use of penyalin (rattan) which is an inanimate object, but after being consecrated, it becomes animated as if it has a soul/spirit.

 Sanghyang Penyalin (Photo Source: Editorial Collection)

Educational Values contained in the Sanghyang Penyalin dance; Ethical Values, Aesthetic Values, and Religious Values. The villagers of Pakraman Pancasari believe that there is a hidden power within a 6-meter-long rattan that is pulled. Thus, the Sanghyang Penyalin dance is believed by the community to repel evil spirits. During the performance of the Sanghyang Penyalin dance, it is quite different from other Sanghyang dance performances. Usually, in the general Sanghyang dance, the dancers go into a trance. However, in the Sanghyang Penyalin performance, the Penyalin (rattan) which is an inanimate object becomes animated as if it possesses a soul or spirit. In its performance, a coiled rattan is placed on a platform (dulang).  A predetermined dancer sits while holding the rattan. Through a pedudusan process accompanied by songs sung by a group of dancers, male and female singers, the Sanghyang then becomes possessed (indicated by the uncoiling of the rattan) and dances while moving the rattan around the arena.

The Tri Hita Karana values ​​contained in the Sanghyang Penyalin Dance can be seen from how this dance is presented as a form of human pleading to avoid disaster (resist evil). Sanghyang
The Copy Dance has a function as a cultural heritage both in terms of dance and art music that must be preserved by the younger generation. Social Function invites the Pancasari Village community to work together. Sanghyang Copyist Dance also has a religious function which contains belief in God Almighty. That a form of implementation of Tri Hita Karana values ​​in Sanghyang Penyalin The dance can be seen from preparation for the performance to the end of the performance Its performance is proven by the presence of trance in the rattan (spinner) used during the show. There is social interaction between the entire village a society characterized by good performance and smoothly. The Sanghyang Penyalin dance in Pakraman Pancasari village embodies the following educational values

 Sanghyang Penyalin (Photo Source: Editorial Collection)

Ethical Values, Ethics refers to self-regulation in social life. Humans cannot live in isolation; they find meaning only when living in harmony with others within a community. Daily interactions in society revolve around human interactions with others. No one can live in seclusion; interactions with various community groups are essential. The ethical value in the ceremony and performance of the Sanghyang Penyalin dance in Pakraman Pancasari village is evident in Unity.  As inherently social beings, humans cannot exist in solitude. Similarly, in Balinese artistic activities, no matter how secular their nature might be, they can't be separated from the concept of religiosity, whose primary functions are sacralization and social cohesion. This is because they involve various community components, including sekaa gong, sekaa santi, sekaa igel, tukang banten, pemangku, and other community members, in preparing various means, both physical and non-physical, for the ceremony to take place.

Aesthetic Values, Aesthetics pertain to beauty. Beauty encompasses natural beauty (which is not man-made) and beauty created by humans (artistic manifestations and representations by humans). This man-made beauty is what we refer to as art. Aesthetics embody everything that leaves us in awe, stunned, amazed, and wherein lies a sense of goodness, truth, and pleasure between the observer and the observed.

Religious Values, Almost all Balinese dances are religious in nature because even secular dances have connections to religious life. Based on their beliefs, gods residing in the heavenly realm would descend to the earthly realm when invited during a ceremony to occupy their thrones in the temple.