I was once taken to ballet performance.
It was a big-name company---might have been the Russian ballet---anyway, one of my clients had been given some tickets, and she asked if I would care to accompany her.So I went to the ballet. By all accounts the dancers excelled themselves on that night.
I thought the whole thing sucked, and I gave very serious consideration to billing my client for the time I spent watching those people jumping around and adopting farcical poses.
On another occasion I attended a performance of dancers at the ASKI in Solo.They performed a number of traditional dances, most were pretty boring, but I had come to this performance with some considerable background in watching Javanese dancing, I knew what to expect, and I rather enjoyed the occasion---probably as much for the social aspects as for the dancing.
However, I made the mistake of giving my opinion on the performance of the bedoyo, which I thought was really excellent. I loved it.I gave this opinion to one of my neighbors who was a dance teacher. To put it mildly and politely, she strongly disagreed with me.
Now, from these two experiences I learnt at least one thing:- I know nothing about dancing. Of either the European or the Javanese variety.I probably learnt a couple of other things too, but I won't go there.
Why do I know nothing about dancing?
Because I have never been taught anything about dancing.
This is true of any art form:- we cannot presume to comment upon the excellence or otherwise of any art, unless we are qualified to pass an opinion on that art.
We can give a personal opinion on whether or not we find the particular example of art to our taste, but we cannot pass judgment upon the excellence or otherwise of the art object unless we understand the parameters within which that art must exist, and the objectives it seeks to achieve.
This is also true of the art of the keris.
The art of the Javanese keris is a Kraton art.
It is not folk art, and it is not an art of the common people. The rules that govern this art are descended from forms and standards that can be observed in other spheres under the influence, if not direct control of a kraton.Thus, if we wish to understand the art of the keris we need to look for guidance to a kraton. I was taught the keris by people who were and are attached to the Surakarta Kraton, and any remarks that I shall make in this context will be based upon these teachings.
Firstly, we need to understand that the keris itself is inarguably of indigenous Javanese origin, as a development from an Indian source. However, the standards that govern the art of the keris are as varied in origin as the influences that have created the environment of the Javanese kraton, as it was seen at end of its development , immediately prior to WWII, and prior to the effects upon it of Japanese occupation and the establishment of the Indonesian Nation.The art of the Javanese keris needs to be understood not as an unadulterated indigenous art form, but rather as an art form that has sprung from an indigenous foundation, but that has absorbed input from Middle Eastern, Chinese, and European sources.
Dr. David has identified several overarching factors that for him are essential components in the appraisal of art in general. The factors Dr. David has identified are:-
quality, cultural integrity, uniqueness, the impact upon the individual
With the Javanese keris, all of these factors can find a place in an appraisal, but perhaps not in the way in which we might ordinarily think of the meaning of these factors.
Quality is most certainly a very important factor in the appraisal of a keris, so, as a place to begin discussion, perhaps some of you may care to nominate those characteristics of a keris that for you speak of its quality.
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