[Pathet Sanga Jugag] "Hatap para hapsari tumonton mring sang dwija," [The goddesses lined up, gazing upon the spiritual man,] "Kadya 'gé wor jiwa." [Wanting to be one with his soul.] Welcome back ladies and gentlemen, and all my friends... ...what's more all the young, millennial men and women I am so proud of... ...as you will preserve the arts, particularly wayang kulit. On this occasion, I will offer information to you... ...on "widadari" [nymphs or goddesses] or, as we say in Indonesian, "bidadari." The "widadari" characters—and by the way, not "midadari."... ...even though there's that phrase: "Oh, her beauty is that of a 'midadari.'" "Widadari"or "bidadari." "Mi." No, not "mi-". We have "mie instan' [instant noodles] or "mi-langoni" [something delightful] and the like. The "bidadari" according to the Mahabharata were created by Brahma. But it must be remembered that Brahma is not Brama. Brahma [one of the Hindu trinity] is not the Brama [god of fire] from Javanese wayang. That is someone different. Alright, so they were created by Brahma. In that moment, everything related to the loveliness, the exquisiteness, and the beauty of women... ...was gathered together into one by Brahma and made into a statue. This was given life by Brahma and... ...the result was the creation of the nymphs, who were really beautiful. Among them is Bathari Uruwasi... You can use this wayang for her, because usually the characteristics of a goddess wayang figure are: ...she always wears a blouse... ...and sometimes she wears this "sampur" [scarf] and this here—she wears slipper-shoes. All goddesses are like that, in wayang. But there are some who make the goddesses without the slippers or without the dressy blouse. A few of the goddesses that Brahma created are: Bathari Uruwasi... Bathari Purwåsiti or Purwāsiti... Sahajanyå or Sahajanyā... ...Bathari Menaka, Bathari Wiswaci, Bathari Gertaji, and Bathari Laksmi. And there are others also. When the goddesses were complete and had come to life, Brahma was truly amazed at his own creations. "So very beautiful, such wonderful form, so exquisite," and so on and so on. Super beautiful all of them. To the point that when the goddesses expressed thanks to him and surrounded him... ...Brahma never wanted to stop gazing at them, since he could never be bored looking at the beauty of the nymphs he had created. But because he was one of the great gods, he was embarrassed to turn circles staring at them. Hence at that point he made it so that his head had four faces. That could look to the back and also to the sides. Such that Brahma could always view the beauty of the goddesses encircling him. That's the way the story goes. So then the goddesses who had been created by Brahma—the seven ones listed before... ..."Pak, are some of them the same as the seven ultimate goddesses, the seven so famous... ...for leading the effort of the seven nymphs to goad Arjuna in the "Ciptaning" story?" Oh they are different. The story goes that those seven goddesses... ...like Supraba and Tilotama, were created by Bethara Wismåkarmå. Wismākarmā. Actually they had been created to tempt the ogres Sunda and Upasunda. At least Tilotama was. But there is another reference that says that actually those seven goddesses... Supraba, Tilotama, Warsiki, Gagarmayang... ...Irim-irim or Bathari Leng-leng Wulat, Bathari Suréndra and also the seventh one, Bathari Tunjung Biru... ...actually came to be because of a gathering of light... ...a cluster of light that fell in the heavens, and turned into those seven goddesses. As for Tilotama, who was made from a statue by Wismakarma... ...she was made to tempt the ogres Sunda and Upasunda. Before I tell you about Sunda and Upasunda with Bathari Tilotama... ...I will show you these first—the "widadari" who came from the cluster of light, like Supraba... ...then Tilotåmå, Tilotāmā, who usually in Javanese wayang is called Wilotåmå. But actually in all the old sources it is Tilotama. But "Wilotama," which is already accepted, is fine. So we have seven of them—Warsiki, Gagarmayang. Who else was that...Irim-irim... ...Suréndra, Tunjung Biru in the back. Sorry [her arms were a little tangled]... Tunjung Biru, whose blouse is blue. Bathari Tunjung Biru. So there are the goddesses, but apologies as perhaps there are deficiencies in their form or design... ...because these are not wayang figures I created in the sense that I designed them. I obtained these from Semarang, and according to the writing here, these are from the Mangkubumen collection. The figures are larger and a little more full-form, rounded out. But see—one, two, three, four, fiv—one, two, three, four, five, six, seven. So those are the goddesses. Before I continue, I will focus a bit on Tilotama first. She was the one who was created by Wismakarma to tempt Sunda and Upasunda. So there were two ogre-demon brothers, and their names were Sunda and Upasunda. Well, these are some ogre kings in my collection—they could be be used for anything, up to you. But in this example they are Sunda and Upasunda. [Ada-ada Sanga Jugag] "Raseksa krura kagiri-giri," [The fierce and frightful ogre demon,] "Gengnya lir prabata," [As immense as a mountain,] "Abang kawelagar." [Crimson as a field aflame.] Ah, so these are the ogres Sunda and Upasunda. These two ogres go after Tilotama, who was advised by Bethara Indra to goad them. These two ogres. In the end, they both fall in love with Bathari Tilotama and eventually fight over her. These two ogres, who are brothers, engage in battle. The main thing is, although they battle and are both of equal strength, they die together, known as "sampyuh." Meaning that the battle is very tense, and they are both so spiritually powerful in battle, but in the end both perish. So that is Bathari Tilotama's role in tempting the two ogres, Sunda and Upasunda. Then there is another part played by Tilotama, in the story of Kumbayana. [Durna as a youth] Actually, in the Mahabharata, Aswatama is not the child of Tilotama (or Wilotama)... ...when she had transformed into a horse, not at all. So Aswatama is the child of Kumbayana with Dèwi Krepi, sister to Krepa. And he was called Aswatama because he was born... ...at the same moment that a loud sound emitted from a horse in the heavens known as Ocesrawas. That's why he was named Aswatāmā or Aswatåmå, Of course in the Javanese version, the goddess Tilotama had been cursed and transformed into a horse. When Kumbayana decided to travel to Java and search for his old friend Sucitra... ...who was famous at that point as the king of Cempala, or Cempalaradya... ...he came across an ocean, although he could not swim and could not fly. That's when he announced a contest—whoever could take him across the ocean safely to his destination... ...if a man he would make him his best and most confided friend. And if a woman, he would take her on as a wife. Eventually the horse appeared and was mounted by Kumbayana. This is the figure for Kumbayana. He is Durna when still young. Then they fly over the ocean—as the story goes—for a very long time. When he reached the earth again, he had a baby boy. The horse was killed by Kumbayana, and after he was killed... —he was killed by Kumabayana and immediately changed form to Tilotama. She left and went back to the heavens, and Kumbayana was left with the small baby. That's the story of Tilotama with KUmbayana. Then there is the story of Tilotama helping Samba. Here, ah. At that time, in the story, we have Samba who is the son of the king of Dwarawati. The son of Sri Kresna. In the story known as "Samba Juwing" [Samba Ripped to Pieces]... In this story, Samba fell in love with Queen Hagnyanawati, or the wife of his older brother Boma Narakasura, also known as Sutidjo. Ah here she is. And as a result of this love... ...he was very sad. But eventually Tilotama appeared. She came. She wanted to help him get to his love's Hagnyanawati's kingdom, known as Trajutrisna. To the wife of his older brother's. Samba was ecstatic to be helped by Tirotama, But, there was a condition. Tilotama:It's like this, my dear, Samba. I, the Goddess Tilotama am willing to assist you... ...such that you may meet with the one you love... ...Queen Hagnyanawati, wife to King Boma Narakasura. Samba: And my apologies, Venerable Goddess, what is the plan for bringing this about? Tilotama: This is the only way it will happen. You will follow my instructions to go to Trajutrisna... I myself will bore through the Earth with you to get there, however you must remember... You will walk in front and I will be in back of you. However you must never even once, look back at me, Your Venerable Goddess. Ah yes, at your command. The point is, Samba was given a way to get there by going through the Earth... ...to get to Trajutrisna. On the condition that he never once look back at her. At that point he departed. Samba is in front—but this is inside the Earth, inside the Earth. There is a very strong light coming from behind Samba. Well, he is surprised by this. "Why is there a very strong light shining inside the Earth?" Maybe he forgot, or maybe it was on purpose, but he turned around since he really wanted to know where the light was coming from. When he turned around he was shocked, and taken aback, because... ...the light was coming from Tilotama's "badhong". "Badhong" is also Javanese for "pawadonan" [wadon = female] meaning... ...a female's genitals. At that moment Tilotama was "bugil" [naked] or wearing no clothes. Her anger was uncontrollable because Samba had gone against his promise. To point where she cursed Samba: "You're going to die by being torn apart into shreds!" And Samba wept. So that's the role of Tilotama in "Samba Juwing" [Samba Torn to Shreds]. Earlier we had Tilotama in the story Sunda-Upasunda and then before that in Kumbayana. So now, the seven goddesses when they tempted Ciptaning also known as Mintaraga. Here is the Sage Ciptaning. Arjuna when he was in meditation on Mount Indrakila. Or Mintaraga. The world went into intense chaos at that point. Because of the intensity of his meditation, there was a evasive aura from Ciptaning or Mintaraga. Up in the heavens it cause a great commotion. The gods ordered the nymphs to try to goad him. And so the various nymphs arrived, with their flirtatious airs. Tilotama...this is Supraba and Tilotama, like before. And all the nymphs...encircling and encircling him. Seven of them. Here, you can place one here. [Pathet Sanga Wantah] "Dieng, Dieng, lunga pasar Dieng," [Dieng, Dieng, go to the Dieng market,] "Tukokna payung mutha," [Buy me a parasol,] "Aja ciut aja amba," [Not too small, not too big,] "Aja ciut aja amba" [Not too small, not too big,] "Kira sedheng wong loro waé," [Just big enough for two people,] "Miliha gambar Arjuna tapa," [Choose one with a picture of Arjuna meditating,] "Anèng ardi Indrakila." [On Mount Indrakila.] That's the "sulukan" telling that part. So here the goddesses have arrived at the hermitage where Arjuna has taken the form of Ciptaning. They had to take very enticing manners and poses, because... ...they were meant to goad the one meditating, so that... ...Arjuna became overcome with desire for them. Well, of course it must have been—thinking logically anyway... ...that they were not wearing outfits like this, but rather transparent ones. And their movements and manner before Ciptaning must have been extraodinary. The main thing was to find a way to tempt the meditator. So, well, a lot of different types of approaches. So that his desire was woken. Like, "My Prince, come on my Prince," "I am Goddess Suprapa. Come on my Prince, we are all here before you, come on my Prince." "My Prince! What use is it to torture your body? Let's enjoy ourselves together, let's make love, my Prince." "My Prince, we are all gifts for you, my Prince." And so on and so on, but the meditating one remained still. So then the nymphs—well, it's called trying to goad him—did what they wanted to before the meditator's being. If he were not a true and genuine talent at meditating, he would surely be tempted. Like the other stories earlier. And later there will be one who is goaded by these tempresses. But because at that moment he had taken a genuine stance as an ascetic and... ...Ciptaning was a prince yet with the soul of an ascetic and meditating with purity, he was not tempted. Even though for the standards of every day and for a normal everyday man... ...of course he would be tempted. Just imagine, if Tilotama was not wearing anything, and standing here like this—"walah!" And the others—there some who hugged him with no clothes on... ...or pinched him like this, and so on. Or came closer, and so on. Just imagine, with no clothes on. And their beauty was almost unlike any other on Earth, these nymphs. That's what was said. They were extremely beautiful and enticing. Well, all we can do is just imagine. And they did not want to stop. They came close, each in their own way—wow. And Supraba joined in here. In the end, Ciptaning was not tempted but the goddesses in fact fell in love with Arjuna, or Ciptaning. They were all beside themselves, as they had fallen in love with Arjuna. While Arjuna had done nothing, just sat there motionless. From there the details of what happened [sanggit] depend on the dhalang... ...as to how the goddesses were dealt with who stood before Ciptaning. There are many versions. In some cases they are swept away by a power within Ciptaning... ...in some cases Naradha arrives and is angry with them... But that's the story of the goddesses in the Ciptaning scene. Then there is the story of the goddess Menaka, who tries to tempt King Wiswakarma. King Wiswakarma was a king. A king. The king of the country Nikunya. He wanted to take power over the cow known as Nandini, who belonged to Sage Wasista But he did not succeed. This is Sagee Wasista. The cow Nandini belonged to him and there was an attempt to take control over him but it did not succeed. After not succeeding, King Wiswakarma took to meditating. He meditated. When he was meditating, the gods in the heavens thought he was trying to take control over them. So they sent orders to the Goddess Menaka—who I mentioned before. Of the "dèwi" or "hapsari" or "bidadari" or "widadari"... ...who were created by Brahma, there was one named Goddess Menaka. She descended, as she had been instructed by the gods to goad him. In the end, since she was wearing transparent clothes and her beauty was unparalleled, he broke out of his meditation. And in the end he was intensely attracted to her—he really fell for her. He really had a thing for this Goddess Menaka. In the end he took her for his wife. —"He took her as a wife, Pak?" —That's right, as a wife. And they had a child, a girl named Sakuntålå or Sakuntālā. You can take a look at my recording of the story "Sakuntala." There is one. So Sakuntala is the child of the goddess Menuka and king Wiswakarma. So, my friends, those known as nymphs or goddesses have been granted as gifts... ...to humans on Earth—but not just any humans. "So who are the mortals who have a goddess wife from the heavens?" For example, Priest Gotama whose wife is the goddess Bathari Widradi. And, who else...Subali whose wife is Bathari Tara. And then Dasamuka, whose wife is Bathari Tari. Tari and Tara are sisters. One was given to Subali, the monkey, and the other to Rahwana, or Dasamuka. And then Dasamuka's younger brother, Kumbakarna, the nymph Kiswani is his wife. Then Wibisana's wife is Bathari Triwati. Then Indrajid's wife is Bathari Indraningrum. And so on. My friends, when Brahma created these, and was so amazed at his own creations... ...such that he transformed himself to have four faces... ...this was when the goddesses became known as dancers as well. The goddesses would dance every sunrise. For example, a source in Javanese that describes it like this: "Pating glebyar pating pancorat soroting téja para widadari wonten sak nginggiling samodra..." "...kadidéné taranggana ing antariksa ingkang tansah asaliran lira-liri asilih pernah." Meaning, shining light—many different kinds of light. On the surface of the ocean, like stars appearing to be traveling across the sky. Changing positions, here and there, like that. "Sami déné kèwes luwes anggènipun langenbeksa. Wilet runtut anut rarasing wirama." In other words, their movements extremely beautiful. They are so becoming, dancing to the rhythm of the music. "Asaliran saliweran polah bawa sornoraga mawi sajak rangu-rangu," So, all the movements pull at your heart; the dancers seem humble and bashful. "Krebat-krebet seblak sampur kadidéné klepyuring lar kupu." The tossing of their waist-scarves, like the wings of butterflies. "Sangat-sanget saya nengsemaken paningal wernaning panggalihipun sang Hyang Brahma tetéla tanpa upami." Meaning, this all makes the God Brahma very pleased. That's about it in terms of a little information about goddesses. I apologize for any mistakes, and there they are, the goddesses. The goddesses. [Pathet Sanga Jugag] "Leng-lenging driya, mangu-mangu mangun kung;" [A perplexed heart, languishing, longing, lovesick;] "Mangun kung; Kandhuhan rimang." [Lovesick; Struck with yearning.]