How “Pahit Manis, Night Forest” Based on Batuan Paintings and “K-Pop Demon Hunters” are Related: Ancestral Stories Retold in Contemporary Time

Abstract

Our understanding of myths and noble wisdom in the Asia-Oceania civilisation has been side eyed by many scholars due to colonialism. For many years our collective polycentric aesthetics views (Shohat and Stam, 1998) in understanding how the world works are seen just as mere imaginary stories. Our ancestors constructed stories for better lives in the future, unfortunately distracted from colonialism to globalisation. In recent years there have been many efforts building back these myths and memories, re-introduced to today’s world so that younger generations can learn from. One way that has been done is through video installations and films. To note there will be two, what seemed opposite art films, yet actually are very related that will be discussed here. First, is a short film by Australian-Balinese artist, Leyla Stevens, “Pahit Manis, Night Forest” presented in an installative exhibition. “Pahit Manis” is a reintroduction to what’s once Mead and Bateson’s Batuan paintings’ collections and its familiar Tantri stories at the Art Gallery of New South Wales. The film eventually travelled to Bali to be shown to Batuan painters and families of the paintings represented, along in Potato Head and recent ARMA Fest. Second, is a very popular full-length movie titled K-Pop Demon Hunters, telling the story of a South Korean girl band that fights demons and protects the world from them. The details of myths and memories brought up are intriguingly symbolised. Within these stories are effects of colonialism, indigenous stories, and most importantly these ancestral stories retold in a contemporary time.