Recovering Lost Scriptures

                                              Introduction    

      In order to understand the nature of Bon[1] terma (hidden treasures) it is best to understand the nature of the texts that were hidden. These texts are considered to be supernatural and sacred in origin. They are considered to have been taught and transmitted by an earlier Buddha who founded the lineage, Tonpa Shenrab Miwoche, and propagated by the sages. Bon history can viewed in a manner that is similar to the great epics such as the Shah Namah, the Ramayana, and the Gesar Tales. These works are historical epics that take on mythic proportions. The sages of these histories were not mere mortals. These were great heroes of superhuman abilities. These were persona possessing magical skills and extremely long lives. The greatest of these was the teacher and founder Tonpa Shenrab Miwoche. He is said to have always been enlightened. Out of compassion He incarnated into the world system in order to liberate all sentient beings. The Bon histories state that He visited many peoples within the six realms of existence. On Earth he is said to have visited many countries. He conquered many demons throughout His ministry. The Bon view of these heroes is that of the shaman and the tantrika[2]. This is reflected in the scriptures of the Bonpo.

Reuben Rutledge may be reached at rutledreub@aol.com and welcomes feedback and conversation.

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Rangda and Barong

                        Reuben L. Rutledge, Ph.D abd

     The conflict between Rangda and Barong is an important part of Balinese culture. Rangda is the dark, liminal Goddess. She is a manifestation of Durga the Goddess of Death. She is the Queen of the Leyaks. Her armies of bhutas, kalas, and leyaks (types of demons) cause malice, illness, misfortune, and the destruction of crops. She is Mahendratta the Widow Queen. According to Margaret Mead, Rangda is a mother figure, the expression of parent/child relationship in Bali. Rangda is the personification of fear. She is a hairy elderly woman with pendulous breasts. Her eyes bulge. From Her mouth huge fangs and a lolling flaming tongue appear. Her hands are equipped with long nails. She is a resident of cemeteries were She feasts on corpses. She has an appetite for children.   She is associated with black magic.  Her main disciples are Raroeng, Lendi, and Waksisia. When Rangda departs, Raroeng then becomes the ruler. Barong is the personification of white magic. He is the powerful protector clearing away the demonic that crosses His path. Barong is the kaya polarity. He is also associated with King Erlanga. There are various forms of Barong. Barong Matjan is a tiger. Barong Bangkal is a boar. Barong Gadjah is an elephant. Barong Singa is a lion. Barong Lemboe is a cow. The most common and important form of him is Barong Keket, a fantastical abstract beast. Barong is a tantric manifestation of Rangda. He is the propitiated form of Rangda, converted from being a destroyer into a protector. [1] Barong’s appearance is not unlike a Chinese dragon or lion. He is portrayed in a two-person costume. Barong Keket’s face strongly resembles a Chinese lion. This costume is covered with golden hair. The masker’s behavior is not unlike that of Chinese lion dancers. Chinese traders probably introduced this image.  In their battles, neither of them wins. The battles are always a draw.

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Much of the world’s best music – jazz, blues, rock – can credit the traditional songs of one or more cultures as an inspiration. Now, many world music performers are exploring these cultural traditions, bringing local music onto an international stage.

Fresh and centered from the afternoon yoga class she teaches, Ramana Viera shared from her heart and imagination about the creative process of writing and performing Portuguese songs together with a group of other innovative musicians.

Here’s a paraphrased excerpt from my conversation with Viera – but first, she would like to thank her very supportive production company, Pacific Coast Music, for the work they put in producing her latest album, Lagrimas del Rainha.

You may visit their website, and listen to and buy the music, here: http://ramanavieira.net/

Ramana Viera (RV): People are more aware of traditional music nowadays…we’ve heard of Gypsy, or Roma, music, and Spanish flamenco. And Portuguese music has a style all its own. We have a kind of music, fado, which is more sedate, usually has three guitar players, and serves a cultural function like American blues. Fado deals with themes such as lost love, grief, and nostalgia.

Cristina Deptula (CD): So, do you perform traditional fado, or do you mix things up a bit?

RV: Our band loves the traditional pieces, and the history of that music. We do innovate when it comes to fado: we’ve used electric guitars and incorporated Latin rhythms. When we experiment with something different, that’s not at all because we don’t like the traditional way. Often, it can be hard to find very traditional fado performers in this area, so we make do with what we have. 

From what I’ve seen, the Portuguese community’s great at performing music at our festas and parties, but I’d love to see people take the music to the larger world.

There are some wonderful traditional musicians around, though – Ana Moura, Mariza, Dulce Pontes, Helder Carvalhiera, for example – and we’ve learned from them.

CD: So you have a lot of influences…how exactly does one musician influence another? Is it conscious or unconscious? Does a new musician set out to emulate a person or play in a certain style, or does it just happen?
RV: Sometimes someone’s music just takes hold of you! I’m most inspired by Portuguese musician Amalia Rodrigues, along with Kate Bush and Tori Amos. I admire people such as these three, who can combine various art forms, who write and perform their own songs. Musicians who aren’t just front people for a band, but who really help create and embody the characters they present in their songs.

CD: Your new song Lagrimas de Rainha (Tears of a Queen) certainly presents many powerful emotions. Would you like to share the story behind that piece?

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