Balinese people
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Balinese
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 Balinese woman bring offering to the temple. |
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Total population
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3.0 million (2000 census)
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Regions with significant populations
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Languages
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Religion
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Related ethnic groups
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The Balinese
population of 3.0 million (1.5% of Indonesia's
population) live mostly on the island of Bali, making up 89% of
the island's population. There are also significant populations on the island
of Lombok, and
in the eastern-most regions of Java
(e.g. the Municipality of Banyuwangi).
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Contents
[hide]
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Origins
Main
article: History of Bali
The origins
of the Balinese came from three periods: The first waves of immigrants came
from Java and Kalimantan in the prehistoric times of the proto-Malay
stock; the second wave of Balinese came slowly over the years from Java during
the Hindu period;
the third and final period came from Java, between the 15th and 16th centuries,
at the time of the conversion of Islam in Java, aristocrats fled to Bali from the Javanese Majapahit
Empire to escape Islamic conversion, reshaping the Balinese culture into a syncretic
form of classical Javanese culture with many Balinese elements.
Culture
Main
articles: Music of Bali and Balinese
art
Balinese
Legong dancer
Balinese
culture is perhaps most known for its dance, drama and sculpture. The culture
is noted for its use of the gamelan in music. The island is also known for its form of Wayang
kulit or Shadow play/Shadow Puppet theatre. It also has several
unique aspects related to their religions traditions. Balinese culture is a mix
of Balinese Hindu/Buddhist religion and Balinese custom.
The Balinese
language itself does not recognize the word 'artist', because artistic life is
part of the traditional daily life. In which the past everyone in the society
participated.
Traditionally,
a display of female breasts is free not regarded as immodest, Balinese women in
the last century can often be seen with their bare chest, instead a display of
the thigh is immodest. In modern Bali these ethics are normally not followed
anymore, but visitors visiting Balinese temples they are advised to cover their
legs.
Balinese has
a unique naming system, in which a person's rank of birth or
caste is reflected in the name.
Puputan
Puputan an act of
war to the death, it was first noted by the Dutch during the colonialization of
Bali. The latest act puputan was during the Indonesian war of Independance,
with I Gusti Ngurah Rai as the leader. His name is
now conmemorated as the airport name at Bali.
Religion
Main
article: Balinese Hinduism
The vast
majority of the Balinese believe in Agama Tirta, "holy-water
religion". It is a Shivaite sect of Hinduism. Traveling Indian priests are said to have
introduced the people to the sacred literature of Hinduism and Buddhism
centuries ago. The people accepted it and combined it with their own pre-Hindu mythologies.[1]
The Balinese from before the third wave of immigration, known as the Bali Aga, are
mostly not followers of Agama Tirta, but retain their own animist
traditions.
Festivals
The Balinese
women preparing for religious festival.
Kuta
Karnaval, Sanur Beach Festival.
References
- ^ Steve Lansing, Three Worlds
of Bali. Praeger, 1983.
See also
Retrieved
from "http://en.wikipedia.org/wiki/Balinese_people"
Bali Kite Festival
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(Redirected
from Kite festival)
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Bebean
(fish-shaped) kites flown at the Bali Kite Festival
The Bali
Kite Festival is an annual international kite festival held in
July in Padang Galak area, Sanur Beach, Bali. Traditional giant kites (4 meters in
width and almost 10 meters in length) are made and flown competitively by teams
from the villages (banjar) of Denpasar. The
event is a seasonal religious festival intended to send a message to the Hindu Gods
to create abundant crops and harvests.
Bebean
(fish-shaped), Janggan (bird-shaped) and Pecukan (leaf-shaped) are three
traditional kites flown during this kite festival. The kites are flown by teams
of 10 or more adult kitefliers. The Bebean is the largest kite, and looks like
a broad-mouthed, split-tailed fish. The Janggan form has a broad flowing cloth
tail that can reach more than 100 meters in length. The Pecukan requires the
most skill to fly, as its unstable form often tumbles towards the ground. Red,
white and black are traditional colours used in the kite's designs. Each type
of traditional kite has its own competition, with heats of 10 teams vying for
the best launch and longest flight. Sometimes the kites come down over the
adjacent rice paddies, and the team members have to dash through the paddy to
rescue the kite before it lands in the water.
A
competition is also held for 'New Creation' kites which may include detailed
three dimensional figures representing the Hindu Gods
or sponsorship kites. Traditional and new creation kites are constructed from
bamboo and cotton cloth.
In the dry
season of June through August, the winds blow continually from east to west in
most of Indonesia. Balinese children and adults fly kites in the vacant rice
paddies during this period.
A gamelan orchestra
plays music throughout the festival. The festival attracts many tourists and
international kitefliers, along with many local spectators.
Galungan
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Galungan is a Balinese
holiday that occurs every 210 days and lasts for 10 days. Kuningan is the
last day of the holiday. Galungan means "When the Dharma is
winning." During this holiday the Balinese gods visit the Earth and leave on
Kuningan.
Occurring
once in every 210 days in the pawukon (Balinese cycle of days), Galungan marks the
beginning of the most important recurring religious ceremony that is celebrated
by all Balinese. During the Galungan period the deified ancestors of the family
descend to their former homes. They must be suitably entertained and welcomed,
and prayers and offerings must be made for them. Those families who have
ancestors that have not yet been cremated, but are still buried in the village
cemetery, must make offerings at the graves.
A
"penjor"
Although
Galungan falls on a Wednesday, most Balinese will begin their Galungan
'holiday' the day before, where the family is seen to be busily preparing
offerings and cooking for the next day. While the women of the household have
been busy for days before creating beautifully woven 'banten' (offerings made
from young coconut fronds), the men of our village usually wake up well before
dawn to join with their neighbours to slaughter a pig unlucky enough to be
chosen to help celebrate this occasion. Then the finely diced pork is mashed to
a pulp with a grinding stone, and moulded onto sate sticks that have been
already prepared by whittling small sticks of bamboo. Chickens may also be
chosen from the collection of free-range chickens that roam around the house
compound. Delicate combinations of various vegetables, herbs and spices are
also prepared by the men to make up a selection of 'lawar' dishes. While much
of this cooking is for use in the offerings to be made at the family temple, by
mid-morning, once all the cooking is done, it is time for the first of a series
of satisfying feasts from what has been prepared. While the women continue to
be kept busy with the preparations of the many offerings to be made at the
family temple on the day of Galungan, the men also have another job to do this
day, once the cooking is finished. A long bamboo pole, or 'penjor', is made to
decorate the entrance to the family compound. By late Tuesday afternoon all
over Bali the visitor can see these decorative poles creating a very festive
atmosphere in the street.
On
Wednesday, the day of Galungan, one will find that most Balinese will try to
return to their own ancestral home at some stage during the day, even if they
work in another part of the island. This is a very special day for families,
where offerings are made to God and to the family ancestors who have come back
to rest at this time in their family temple. As well as the family temple,
visits are made to the village temple with offerings as well, and to the homes
of other families who may have helped the family in some way over the past six
months.
The day
after Galungan is a time for a holiday, visiting friends, maybe taking the
opportunity to head for the mountains for a picnic. Everyone is still seen to
be in their 'Sunday best' as they take to the streets to enjoy the festive
spirit that Galungan brings to Bali.
The date for
Galungan and other special Balinese days is shown on the Balinese Calendar.
Galungan is also celebrated in the rest of Indonesia such as in the Balinese
communities spread over Sumatra.
References
- Pancorbo, Luis: "Galungan,
apoteosis del rito balinés", en "Fiestas del Mundo. Las Máscaras
de la Luna". pp. 33–41. Ediciones del Serbal, Barcelona, 1996.
Nyepi
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Ogoh-ogoh
being paraded in Ngrupuk or The Bhuta Yajna Ritual.
Nyepi is a Balinese "Day of
Silence" that is commemorated every Isakawarsa (Saka
new year) according to Bali's calendar (in 2011, it will be on March 5th). It
is a day of silence, fasting, and meditation. The day following Nyepi is also
celebrated as New year.[1][2]
Observed
from 6 a.m. until 6 a.m. the next morning, Nyepi is a day reserved for self-reflection
and as such, anything that might interfere with that purpose is restricted. The
main restrictions are: no lighting fires (and lights must be kept low); no
working; no entertainment or pleasure; no traveling; and for some, no talking
or eating at all. The effect of these prohibitions is that Bali’s usually
bustling streets and roads are empty, there is little or no noise from TVs and
radios, and few signs of activity are seen even inside homes. The only people
to be seen outdoors are the Pecalang, traditional security men
who patrol the streets to ensure the prohibitions are being followed.
Although
Nyepi is primarily a Hindu
holiday, non-Hindu residents of Bali observe the day of silence as well, out of
respect for their fellow citizens. Even tourists are not exempt; although free
to do as they wish inside their hotels, no one is allowed onto the beaches or
streets, and the only airport in Bali remains closed for the entire day. The
only exceptions granted are for emergency vehicles carrying those with
life-threatening conditions and women about to give birth.
On the day
after Nyepi, known as Ngembak Geni, social activity picks up again quickly, as
families and friends gather to ask forgiveness from one another, and to perform
certain religious rituals together.
[edit] Rituals
- First, The Melasti Ritual
is performed at the 3-4 previous day. It is dedicated to Sanghyang Widhi
Wasa and is performed at the beach to respect them as the owner of The
Land and Sea. The ritual performed in Pura (Balinese temple) near the sea
(Pura Segara) and meant to purify Arca, Pratima, and Pralingga (sacred
objects) belongs to several temples, also to acquire sacred water from the
sea.
- Second, The Bhuta Yajna
Ritual is performed in order to vanquish the negative elements and
create balance with God, Mankind, and Nature. The ritual also meant to
appease Batara Kala by Pecaruan offering. Devout Hindu Balinese
villages usually make ogoh-ogoh, demonic statues made of bamboo and paper
symbolizing negative elements or malevolent spirits. After the ogoh-ogoh
have been paraded around the village, the Ngrupuk ritual takes place,
which involves burning the ogoh-ogoh.
- Third, The Nyepi Rituals
is performed with the following conditions:
- Amati Geni: No fire/light,
including no electricity
- Amati Karya: No working
- Amati Lelunganan: No
travelling
- Amati Lelanguan: Fasting and
no revelry/self-entertainment
- Fourth, The Yoga/Brata
Ritual starts at 6:00 AM (e.g. March 26, 2009) and continues to 6:00
AM the next day.
- Fifth, The Ngebak Agni/Labuh
Brata Ritual is performed for all Hindus to forgive each other and to
welcome the new days to come.
- Sixth and finally, The
Dharma Shanti Rituals is performed as the Nyepi Day or "Day of
Silence."
[edit]
Saraswati
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This is about the goddess in Puranic
Hinduism and Buddhism. See Sarasvati
River for the Vedic river or river goddess.
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Saraswati
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 Saraswati by Raja Ravi Varma |
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सरस्वती
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Sanskrit
Transliteration
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Sarasvatī
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Affiliation
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Abode
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Consort
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swan, Hansa Bird,
and often peacock
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In Hinduism Saraswati
(Sanskrit: सरस्वती Tamil:
சரஸ்வதி sarasvatī) is the goddess of knowledge, music and the arts. She is the
consort of Brahma.[1]
Saraswati is considered to be the "mother of the Vedas".[2]
The name Saraswati
came from "saras" (meaning "flow") and "wati"
(meaning "a woman"). So, Saraswati is symbol of knowledge; its flow
(or growth) is like a river and knowledge is supremely alluring, like a
beautiful woman.
Saraswati is
known as a guardian deity in Buddhism who upholds the teachings of Gautama
Buddha by offering protection and assistance to practitioners. She is known
in Burmese as Thurathadi (သူရဿတီ, pronounced [θùja̰ðədì] or [θùɹa̰ðədì]) or Tipitaka Medaw
(တိပိဋကမယ်တော်, pronounced [tḭpḭtəka̰ mɛ̀dɔ̀]),
Chinese
as Biàncáitiān (辯才天), in Thai
as Surasawadee (สุรัสวดี) and in Japanese
as Benzaiten
(弁才天/弁財天).
In the East Indian
states of Bihar, West Bengal,
Orissa Saraswati
is considered to be a daughter of Durga along with her sister Lakshmi and her
brothers Ganesha
and Karthikeya.[3]
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Contents
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[edit] Mythology
17th century
Mysore
painting depicting Goddess Saraswati
In the Rigveda,
Saraswati is a river as well as its personification as a goddess.
In the post-Vedic age, she began to lose her status as a river goddess and
became increasingly associated with literature, arts, music, etc. In Hinduism,
Saraswati represents intelligence, consciousness, cosmic knowledge, creativity,
education, enlightenment, music, the arts, eloquence and power. Hindus worship
her not only for "secular knowledge", but for "divine
knowledge" essential to achieve moksha.
In some Puranas (like Skanda
Purana) she is daughter of Shiva (Shivaanujaa) and in some Tantras with Ganesha.
The original
(spiritual) forms of devas including Saraswati are present in the
spiritual world:
In the center reside the deities of fire, sun and moon, Kurma-avatara, Ananta
Sesha, and Garuda, the master
of the three Vedas. The Vedic hymns and all sacred mantras also stay
in that holy place, which is made of all the Vedas, and which is known in the Smriti-sastra
[Scriptures of Remembrance] as the yoga-pitha [Sanctuary of Union]. (Padma
Purana Uttara-khanda 256.23)
Accompanied by Lakshmi and other
associates, the chatur-vyuha [Four Expansions] headed by Lord Vasudeva are
manifest in the eight directions, beginning with the east. In the directions
beginning with the southeast, the palaces of Lakshmi, Saraswati, Rati, and Kanti
respectively are situated.[4][clarification needed]
According to
Vedanta she is
considered to be the feminine energy and knowledge aspect (Shakti) of Brahman, as one
of many aspects of Adi Shakti.
[edit] Maha Saraswati
In the Devi
Mahatmya, Saraswati is in the trinity of Maha Kali, Maha Lakshmi and Maha
Saraswati. She is depicted as eight-armed.
Her dhyāna shloka given at the
beginning of the Fifth chapter of Devi
Mahatmya is:
Wielding in
her lotus-hands the bell, trident, ploughshare, conch, pestle, discus, bow, and
arrow, her lustre is like that of a moon shining in the autumn sky. She is born
from the body of Gowri
and is the sustaining base of the three worlds. That Mahasaraswati I worship
here who destroyed Sumbha and other asuras.[5]
[edit] Mahavidya Nila
Saraswati
Nilasaraswati
is another form of Mahavidya Tara.
There are separate dhyana shlokas and mantras for her
worship in Tantrasara.[6]
[edit] Other associations
Saraswati is
known as a guardian deity in Buddhism who upholds the teachings of Gautama
Buddha by offering protection and assistance to practitioners.
[edit] Iconography
9th century
marble sculpture of Saraswati .
The goddess
Saraswati is often depicted as a beautiful woman dressed in pure white often
seated on a white lotus, which symbolizes that she is founded in the
experience of the Absolute Truth. Thus, she not only has the knowledge but also
the experience of the Highest Reality. She is mainly associated with the color
white, which signifies the purity of true knowledge. Occasionally, however, she
is also associated with the colour yellow, the colour of the flowers of the mustard
plant that bloom at the time of her festival in the spring. She is not
adorned heavily with jewels and gold, unlike the goddess Lakshmi, but is
dressed modestly — representing her preference of knowledge over worldly
material things.[7]
She is
generally shown to have four arms, which represent the four aspects of human
personality in learning: mind, intellect, alertness, and ego. Alternatively,
these four arms also represent the 4 Vedas, the primary sacred books for
Hindus. The Vedas, in turn, represent the 3 forms of literature:
- Poetry — the Rigveda
contains hymns, representing poetry
- Prose — Yajurveda
contains prose
- Music — Samaveda
represents music.
The four
hands also depict this thus — prose is represented by the book in one hand,
poetry by the garland of crystal, music by the veena. The pot of sacred water
represents purity in all of these three, or their power to purify human
thought.
She is shown
to hold the following in her hands:
- A book, which is the sacred
Vedas, representing the universal, divine, eternal, and true knowledge as
well as her perfection of the sciences and the scriptures.
- A mālā (rosary) of crystals,
representing the power of meditation and spirituality.
- A pot of sacred water,
representing creative and purification powers.
- The vina, a musical
instrument that represents her perfection of all arts and sciences.
Saraswati is also associated with anurāga, the love for and rhythm
of music which represents all emotions and feelings expressed in speech or
music.
The
beautiful human form of Saraswati comes to the fore in this English translation
of the Saraswati hymn:
"May
Goddess Saraswati, who is fair like the jasmine-colored moon, and whose pure
white garland is like frosty dew drops, who is adorned in radiant white attire,
on whose beautiful arm rests the veena, and whose throne is a white lotus,who
is surrounded and respected by the Gods, protect me.May you fully remove my
lethargy, sluggishness, and ignorance."[8]
A hamsa or swan is often located
next to her feet. The sacred bird, if offered a mixture of milk and water, is
said to be able to drink the milk alone. It thus symbolizes discrimination
between the good and the bad or the eternal and the evanescent. Due to her
association with the bird, Saraswati is also referred to as Hamsavahini, which
means "she who has a hamsa as her vehicle".
She is
usually depicted near a flowing river, which may be related to her early
history as a river goddess.
Sometimes a peacock is shown
beside the goddess. The peacock represents arrogance and pride over its beauty,
and by having a peacock as her mount, the Goddess teaches not to be concerned
with external appearance and to be wise regarding the eternal truth.
[edit] Worship
In Hindu
beliefs, great significance is attached to offering honey to this goddess, as
honey is representative of perfect knowledge. Hymns dedicated to her include Saraswati Vandana Mantra.
[edit] Festivals
In Maharashtra
and some parts of Gujarat,
Saraswati Puja starts with Saraswati Avahan on Maha Saptami and ends on
Vijayadashami with Saraswati Udwasan or Visarjan.
Saraswati
Puja Calendar:
- Saraswati Puja Avahan – Maha
Saptami – Triratra vratam starts in Andhra Pradesh
- Saraswati Puja (main puja) –
Durgashtami
- Saraswati Uttara Puja –
Mahanavami
- Sarasawati Visarjan or Udwasan
– Vijaya Dashami.
Saraswati
Sarasvati
Puja in Eastern India
In the
eastern part of India, Odisha,West Bengal, Bihār and Assam, Saraswati Puja is
celebrated in the Magha month (January–February). It coincides with Vasant
Panchami or Shree Panchami i.e. the 5th day of the bright fortnight of the
lunar month of Magha. People place books near the Goddess' statue or picture
and worship the Goddess. Book reading is not allowed on this day.
Sarasvati
Puja in South India
In the
southern states of India, Saraswati Puja is conducted during the Navaratri.
Navaratri literally means “Nine Nights”. But the actual celebrations continue
during the 10th day which is considered as Vijaya Dashami or the Victorious
Tenth Day. Navaratri starts with the new moon day of the bright fortnight of
the Sharad Ritu (Sharad Season of the six seasons of India) during
September–October. The festival celebrates the power of the feminine aspect of
divinity or shakti. The last two or three days are dedicated to Goddess
Saraswati in South India.
In Tamil
Nadu, Sarasvati Puja is conducted along with the Ayudha Puja
(the worship of weapons, and implements including machines). On the ninth day
of Navaratri, i.e. the Mahanavami day, books and all musical instruments are
ceremoniously kept in front of the Goddess Sarasvati early at dawn and
worshipped with special prayers. No studies or any performance of arts is
carried out, as it is considered that the Goddess herself is blessing the books
and the instruments. The festival concludes on the tenth day of Navaratri (Vijaya
Dashami) and the Goddess is worshipped again before the books and the
musical instruments are removed. It is customary to start the study afresh on
this day, which is called Vidyarambham (literally, Commencement of Knowledge).
In Kerala,
the last three days of the Navaratri festival, i.e. Ashtami, Navami, and
Dashami are celebrated as Sarasvati Puja. The celebrations start with the Puja
Veypu (Placing for Worship). It consists of placing the books for Pooja on
the Ashtami day. It may be in one’s own house, in the local Nursery School run
by traditional teachers, or in the local temple. The books will be taken out
for reading, after worship, only on the morning of the third day (Vijaya
Dashami). It is called Puja Eduppu (Taking [from] Puja). Children are
happy since they are not expected to study on these days. On the Vijaya Dashami
day, Kerala celebrates the Ezhuthiniruthu or Initiation of Writing
for the little children before they are admitted to nursery schools. This is
also called Vidyarambham. The child is made to write for the first time
on the rice spread in a plate with the index finger, guided by an elder of the
family or by a reputed teacher. The little ones will have to write “Hari Shri
Ganapataye Namah” and recite the same to mark the auspicious entry in to the
world of education. This is considered a memorable event in the life of a
person. In some parts of Kerala bordering Tamil Nadu, Ayudha Puja is also
conducted during this period.
[edit] Respect for
written material
In some
areas[which?] of India it is
customary that, out of respect, when a person's foot accidentally touches a book or
any written material (which are considered as a manifestation of Saraswati) or
another person's leg, it will be followed by an apology in the form of a single
hand
gesture with the right hand, where the offending person first touches the
object with the finger tips and then the forehead and/or chest. This also
counts for money, which is considered as a manifestation of the goddess of
wealth Lakshmi.[9]
[edit] Images
Shringeri Sharada, Sharada temple, Shringeri.
Saraswati Temple in Bali, Indonesia.
Stone sculpture of Gnana Saraswathi at the Gangaikonda Cholapuram
[edit]
Ngaben
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Ngaben, or Cremation Ceremony, is the
ritual performed in Bali
to send the deceased to the next life. The body of the deceased will be placed
as if sleeping, and the family will continue to treat the deceased as sleeping.
No tears are shed, because the deceased is only temporarily not present and
will reincarnate
or find his final rest in Moksha (freeing from the reincarnation and death cycle).
The proper
day of the ceremony is always a matter of consulting a specialist on ceremony
days. On the day of the ceremony, the body of the deceased is placed inside a coffin. This coffin
is placed inside a sarcophagus resembling a buffalo (Lembu) or in a temple
structure (Wadah) made of paper and wood. The buffalo or temple structure will
be carried to the cremation site in a procession. The procession is not
walking in a straight line. This is to confuse bad spirits and keep them away
from the deceased.
The climax
of Ngaben is the burning of the whole structure, together with the body of the
deceased. The fire is necessary to free the spirit from the
body and enable reincarnation.
Ngaben is
not always immediately performed. For higher caste members it is
normal to perform the ritual within 3 days. For lower caste members the
deceased are buried first and later, often in a group ceremony for the whole
village, cremated
Legong
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See also: Legong (disambiguation)
Two
pre-adolescent girls performing Legong dance
Legong is a form of Balinese dance.
It is a refined dance form characterized by intricate finger movements,
complicated footwork, and expressive gestures and facial expressions.
Legong
probably originated in the 19th century as royal entertainment. Legend has it
that a prince of Sukwati fell ill and had a vivid
dream in which two maidens danced to gamelan music.
When he recovered, he arranged for such dances to be performed in reality.[1] Others
believe that the Legong originated with the sanghyang
dedari, a ceremony involving voluntary possession
of two little girls by beneficent spirits.[2] Legong is
also danced at public festivals. Excerpts from Legong dance dramas are put on
for tourists.
Legong
dancers are always girls who have not yet reached puberty. They begin rigorous
training at about the age of five. These dancers are regarded highly in the
society and usually become wives of royal personages or wealthy merchants.[3]
Classical
Legong enacts several traditional stories. The most common is the tale of the
King of Lasem from the Malat, a collection of heroic romances. He is at
war with another king, the father (or brother) of Princess Ranjasari. Lasem
wants to marry the girl, but she detests him and tries to run away. Becoming
lost in the forest, she is captured by Lasem, who imprisons her and goes out
for a final assault against her family. He is attacked by a monstrous raven,
which foretells his death.
The
dramatics are enacted in elaborate and stylized pantomime. The two little
actresses are accompanied by a third dancer called a tjondong or
attendant. She sets the scene, presents the dancers with their fans and later
plays the part of the raven.
[edit]
Legong
From
Wikipedia, the free encyclopedia
Jump to: navigation, search
See also: Legong (disambiguation)
Two
pre-adolescent girls performing Legong dance
Legong is a form of Balinese dance.
It is a refined dance form characterized by intricate finger movements,
complicated footwork, and expressive gestures and facial expressions.
Legong
probably originated in the 19th century as royal entertainment. Legend has it
that a prince of Sukwati fell ill and had a vivid
dream in which two maidens danced to gamelan music.
When he recovered, he arranged for such dances to be performed in reality.[1] Others
believe that the Legong originated with the sanghyang
dedari, a ceremony involving voluntary possession
of two little girls by beneficent spirits.[2] Legong is
also danced at public festivals. Excerpts from Legong dance dramas are put on
for tourists.
Legong
dancers are always girls who have not yet reached puberty. They begin rigorous
training at about the age of five. These dancers are regarded highly in the
society and usually become wives of royal personages or wealthy merchants.[3]
Classical
Legong enacts several traditional stories. The most common is the tale of the
King of Lasem from the Malat, a collection of heroic romances. He is at
war with another king, the father (or brother) of Princess Ranjasari. Lasem
wants to marry the girl, but she detests him and tries to run away. Becoming
lost in the forest, she is captured by Lasem, who imprisons her and goes out
for a final assault against her family. He is attacked by a monstrous raven,
which foretells his death.
The
dramatics are enacted in elaborate and stylized pantomime. The two little
actresses are accompanied by a third dancer called a tjondong or
attendant. She sets the scene, presents the dancers with their fans and later
plays the part of the raven.
[edit]
Kecak
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 Gongs from Java |
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Genres
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Specific Forms
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Regional Music
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Kecak (pronounced [ˈketʃaʔ], alternate spellings: Ketjak
and Ketjack) is a form of Balinese music drama, originated in the 1930s and is performed
primarily by men, although a few women's kecak groups exist as of 2006.[1]
Also known
as the Ramayana Monkey Chant, the piece, performed by a circle of 150 or
more performers wearing checked cloth around their waists, percussively
chanting "cak" and throwing up their arms, depicts a battle from the Ramayana
where the monkey-like
Vanara helped
Prince Rama fight
the evil King Ravana.
However, Kecak has roots in sanghyang, a trance-inducing exorcism dance.[2]
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Contents
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[edit] History
Kecak was
originally a trance
ritual accompanied by male chorus. German painter and musician Walter
Spies became deeply interested in the ritual while living in Bali in the 1930s and
worked to recreate it into a drama, based on the Hindu Ramayana
and including dance, intended to be presented to Western tourist audiences.
This transformation is an example of what James
Clifford describes as part of the "modern art-culture system"[3] in which,
"the West or the central power adopts, transforms, and consumes
non-Western or peripheral cultural elements, while making 'art' which was once
embedded in the culture as a whole, into a separate entity."[4] Spies
worked with Wayan Limbak and Limbak popularized the dance by
traveling throughout the world with Balinese performance groups. These travels
have helped to make the Kecak famous throughout the world.
A Kecak
dance being performed at Uluwatu, in Bali
A Kecak
dance being performed at Kolese Kanisius, Jakarta
Performer,
choreographer, and scholar I Wayan Dibia cites a
contrasting theory that the Balinese were already developing the form when
Spies arrived on the island.[5] For
example, well-known dancer I Limbak had incorporated Baris
movements into the cak leader role during the 1920s. "Spies liked this
innovation," and it suggested that Limbak, "devise a spectacle based
on the Ramayana," accompanied by cak chorus rather than gamelan, as would
have been usual.[2]
[edit] In popular culture
 |
Lists of miscellaneous information
should be avoided. Please relocate any relevant information into
appropriate sections or articles. (July 2008)
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[edit] Film
- The 1971 version of Kenneth
Anger's Rabbit's Moon incorporates Kecak into the
soundtrack.
- Footage of a kecak performance
is prominently featured in Ron
Fricke's 1992 film Baraka.
- A kecak chant can be heard in Federico Fellini's classic 1969 film Satyricon. It was probably sampled from David
Lewiston's 1969 LP of Balinese music entitled Golden Rain,
released on the Nonesuch Explorer Series.
- Dagger
of Kamui (Kamui no Ken), an anime film released in 1985,
incorporates kecak in its score, often in action scenes involving shinobi.
- Kecak chanting is incorporated
into the soundtrack for the Japanese animated film Akira
(1988), which also uses the Indonesian gamelan
prominently.
- Kecak is heard in I Never Promised You a
Rose Garden during fantasy sequences taking place in the heroine's
paracosm.
- A Kecak-style dance and chant
can be seen in the fantasy portion of Tarsem
Singh's film The Fall (2006), in which the
Balinese actors incorporated words to describe the map being drawn.
- The chant is heard during a
scene in the Coen Brothers' film Blood
Simple (1985).
- A Kecak chant is shown for a
few minutes close to the end of the erotic French drama Emmanuelle
2 (1975), when the main characters go to Bali.
[edit] Pop music
- A sample of Kecak chanting
kicks off The Pop Group's 1980 album For How Much
Longer Do We Tolerate Mass Murder?
- There is a sample of Kecak
chanting on Poésie Noire's 1989 album Love Is Colder Than
Death roughly 1 minutes 50 seconds into the song "Les
excuses".
- The San Francisco Art Rock band
Oxbow's song Daughter from their 1991 album King
of the Jews incorporates Kecak-inspired polyrhythmic chanting and clapping
throughout.
- Mike
Patton performs a Kecak-like chant that is incorporated in the song
"Goodbye Sober Day" on the 1999 Mr.
Bungle album California. Patton had
previously performed a similar passage of rhythmic chanting in the Faith
No More song "Got That Feeling," from their 1997 Album of the Year.
- A sort of Kecak chant can be
heard in Jade Warrior's Floating
World side-B album, called simply "Monkey Chant". It has
been mixed including a Jimi Hendrix-like guitar solo (played by David
Duhig).
- A song from the debut album by
musical group Hercules and Love Affair has an intro
in the style of Kecak chanting.
- RMB
(band) Rolf Maier Bodes Farid Gharadjedaghi/ RMB - Baraka, RMB -
Chakka Chakka.
- A sample of Kecak chanting can
be heard in the song "Soldier of Fortune" from Manhattan Transfer's album Bodies and Souls.
- A sample of Kecak chanting can
be heard in the Devo
song Jocko Homo.
[edit] TV
- David Attenborough's 1969 documentary for
the BBC The Miracle of Bali on the arts in Bali
featured the kecak in both the 1st and 3rd episodes.
- A Kecak chant is played during
the closing credits of the Asian-influenced
show Avatar: The Last Airbender.
- A Kecak dance is performed in a
Season 2 episode of MTV's
Wildboyz, with Chris Pontius and Steve-O eagerly participating in
the ritual during their stay in Indonesia.
Here it is referred to as a "Sardono Kecak".
[edit] Video game
- Kecak chanting forms the basis
of the song "The Oracle" in the Super NES video game Secret
of Mana.
- Kecak chanting is featured in
the song "Kecak" in the Japanese music
video game beatmania IIDX 11 – IIDX RED. Samples for
this song are taken from Fellini's "Satyricon."
- Kecak is a mini-game in
Capcom's Breath of Fire IV video game for
PlayStation. The player mimics the chants by timing button presses
corresponding to the screen.
- Kecak chanting is used as theme
music for one of the unlock able enemy generals in the Atari game
"Risk".
[edit] Bibliography
- Kecak from Bali. Produced by David Lewiston,
1990. One compact disc (duration 44:53) with notes and libretto by Fred B.
Eiseman and David Lewiston. 9019. As of 1991 this was the only commercial
release outside Bali which features only and a complete performance of
kecak.[6]
- I Wayan Dibia, Kecak: the
vocal chant of Bali. Denpasar: Hartanto Art Books, 1996. vi + 83pp.
Tables, photos, index. ISBN
979 95045 4 6. "This little book covers all the elements of
Kecak"[5]
[edit]
Ubud
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Ubud
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— Town —
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Ubud
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Ubud
Location in Bali
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Ubud
Location in Indonesia
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Country
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Hindu Temple
in Ubud
Ubud is a town on the Indonesian
island of Bali in Ubud
District, located amongst rice paddies and steep ravines in the central
foothills of the Gianyar
regency. One of Bali's major arts and culture centres, it has developed a
large tourism industry.
Ubud has a
population of about 30,000 people, but it is becoming difficult to distinguish
the town itself from the villages that surround it.[1]
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Contents
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[edit] History
8th century
legend tells of a Javanese priest, Rsi Markendya, who meditated at
the confluence of two rivers (an auspicious site for Hindus) at the Ubud
locality of Campuan. Here he founded the Gunung Lebah Temple on the valley
floor, the site of which remains a pilgrim destination.[2]
The town was
originally important as a source of medicinal herbs and plants; Ubud gets its
name from the Balinese word ubad (medicine).[2]
In the late
nineteenth century, Ubud became the seat of feudal lords who owed their
allegiance to the king of Gianyar, at one time the most powerful of Bali's southern
states. The lords were members of the satriya family of Sukawati, and
were significant supporters of the village's increasingly renowned arts scene.[2]
Tourism on
the island developed after the arrival of Walter
Spies, an ethnic German born in Russia who taught painting and music, and
dabbled in dance. Spies and foreign painters Willem Hofker and Rudolf
Bonnet entertained celebrities including Charlie
Chaplin, Noel Coward, Barbara
Hutton, H.G.
Wells and Vicki Baum. They brought in some of the greatest artists
from all over Bali to teach and train the Balinese in arts, helping Ubud become
the cultural centre of Bali.
A new burst
of creative energy came in 1960s in the wake of Dutch painter Arie Smit
(1916-), and development of the Young Artists Movement. There are many museums
in Ubud, including the Museum Puri Lukisan, Museum Neka and the Agung Rai Museum of Art.
The Bali
tourist boom since the late 1960s has seen much development in the town;
however, it remains a centre of artistic pursuit.[2]
[edit] Town orientation
and tourism
The Ubud
Palace
The main
street is Jalan Raya Ubud (Jalan Raya means main road), which runs
east-west through the center of town. Two long roads, Jalan Monkey Forest and
Jalan Hanoman, extend south from Jalan Raya Ubud. Puri Saren Agung is a large
palace located at the intersection of Monkey Forest and Raya Ubud roads. The
home of Tjokorda Gede Agung
Sukawati (1910-1978), the last "king" of Ubud, it is now occupied
by his descendants and dance performances are held in its courtyard. It was
also one of Ubud's first hotels, dating back to the 1930s.
The Ubud Monkey Forest is a sacred nature reserve
located near the southern end of Jalan Monkey Forest. It houses a temple and
approximately 340 Crab-eating Macaque (Macaca fascicularis)
monkeys.[3]
Ubud tourism
focuses on culture, yoga and nature. In contrast to the main tourist area in
southern Bali, the Ubud area has forests, rivers, cooler temperatures and less
congestion although traffic has increased dramatically in the 21st century. A
number of smaller "boutique"-style hotels are located in and around
Ubud, which commonly offer spa treatments or treks up Ubud's mountains.
The Moon
of Pejeng, in nearby Pejeng, is the largest single-cast bronze kettle drum
in the world, dating from circa 300BC. It is a popular destination for tourists
interested in local culture, as is the 11th century Goa Gajah,
or 'Elephant Cave', temple complex.
[edit]
About Bali Island
Bali Island is a small beautiful island and a
part of Indonesia archipelago. It own the panorama and unique culture that make
this island is exclusively than others. It is located in the tropical situation
that has stated this island as Dream Island for a vacation. Bali
Island has many kinds of places to visit like rice paddies, beautiful
panorama, volcanoes soaring up through the clouds, tourism activities and
attractions, dense tropical jungle, long sandy beaches, warm blue water,
crashing surf and friendly people who don't just have a culture but actually
live here, daily community ritual and a lot of things make your holiday unforgettable.
In Bali, the spirits is coming out to play in the moonlight, every night is a
festival and even a funeral is an opportunity to have a good time and the day
you will get the enjoy of the sea breeze from the blue sea water which
completing your dream holiday. Bali is an Island of
God in Paradise that is perfect destination for your holiday, enjoy the
paradise with your family and collages and meet Bali will offer something for
everyone. This tropical paradise has a unique blend of modern tourist
facilities combined with wonderful shopping and a rich past and heritage. The Balinese
people are proud of having preserved their unique Hindu
culture against the advance of Islam, the dominant religion throughout
Indonesia. This is still reflected in day-to-day life and can be seen in the
numerous ceremonies, Balinese festivals and magnificent temples and palaces.
Some of the best surfing beaches in the world can be found on the western side
of the island whilst conversely the eastern side is a wonderful haven for
families, with beautiful white sand beaches and gentle seas.
Bali in Stories
Bali Island
it self according to the ancient inscription of Blanjong written 835 Saka or
913 century which is released by Sri Kesari Warmadewa Kingdom that Bali
Island is called 'Bali Dwipa' where the meaning is Bali means come back,
offering, sure and other words related to this meaning, meanwhile Dwipa mean
island. The Bali Dwipa might be given by traditional merchants from India where
the first time they arrive in Bali they met the local people full with the
religious activities by using the offering (banten). Base on the event they
called Bali is Bali Dwipa.
Bali from Other Views
According to
the geographic,
Bali Island is located in the tropical area and as other islands in Indonesia that
Bali Island is consisted of the mountain area, coastal and sea. Its land is
very fertile and own tropical climate so that this area is very precise as
agrarian area.
Balinese
people have been well known as the agrarian and friendly
people. They are holding the strong social life that are still be defended
up to now and become the fortress from unfavorable external influence pressure.
Most of the
Balinese are Hindu while other are Moslem, Christian/catholic and Buddhist where
they life in peace and love each other. We can see the religious activity
ritual by Hinduism in Bali every day so that this island is more known as an
island of heaven. Bali is featured by unique
cultures which most adapted from the Hindu influence that are still exist
in this new modern era.
As the eaten
country and part of Indonesia , living in Bali is very simple and most of them
are friendly people. However Balinese it self own special
etiquette that you need to know before visiting the island.
Balinese
people have a strong community system and well organization. Well organization
community organizes every single part of region in Bali from the small one
that is called Banjar, village, district, and regency until province. »
MORE
Balinese
Hindu has a strong concept
in their life that is based on the balance of nature life. This concept now has
been adopted by many countries in the world to keep secure the environment from
the bad influence. »
MORE
Balinese People
Bali
population based the
census on 2001 has reached 3.156.392 and Balinese
it self is not stay in Bali Island
but also spread out through Indonesian island. Bali race is a group of
community banded by the awareness or oneness of culture. The Balinese
Traditional is much banded by the social live aspect like conduct the pray in
the temple, to place in the certain area together etc. The Balinese were not
able to develop and sustain their extremely complex agricultural economy for
centuries on end without a very organized community
structure.
Strong Social Organization System
The basis of this community
structure is called Subak and Banjar. Everyone who owns a
rice paddy must join the Subak in their village. The Subak controls who will
plant rice and when (plantings are staggered so that pestilence is minimized).
As well and more importantly, the Subak ensures that all farmers receive their
fair share of irrigation water since traditionally the head the Subak was the
farmer whose field was at the bottom of the hill and water first had to pass
through everybody else's field before it was allowed to irrigate his. The other
important community structure is the Banjar that organizes all other aspects of
Balinese life (i.e. marriages, cremations, community service, festivals and the
like). When a man marries, he is expected to join the village Banjar and must
participate in community affairs. Meetings are held at a large open-air
building called the Bale Banja.
Balinese Community System
One of the
images of the Balinese unique is collectively strong oneness among Balinese
and there are seven things wrapped the Balinese to be a strong community,
which has the identity and tenacity of culture: (1) most of them bound by Hindu
Religion as a pioneer of religion in Indonesia. (2) They are bound with
some of praying place (Pura), (3) Balinese people bound by family system, (4)
They are bound by the community surrounding them like Banjar or Desa Pekraman.
(5) They are also bound by race system which get in heritance from the ancestor
hereditarily, (6) Some of Balinese farmers are bound with Traditional
Irrigation System which is called Subak, (7) Balinese also bound by Indonesia Government
System.
Balinese Life and Structure
Generally, the Balinese
Community System is oriented by two structures (Social Traditional
Structure and Social Formal Structure). The Social Traditional Structure has
based on the long story from before Hindu era until now and Social Formal
Structure is bound of the Balinese integrity into Republic Indonesia since 17
August 1945 . The most familiar Balinese
life concept which is called 'Tri
Hita Karana' and it is believe will bring them into prosperous where this
concept has three angle point in the Balinese in order to keep the good balance
between human and environment, human and human the last one human and god.
BANJAR
Banjar is a group of social community that
has band of area, activities and social life. The purpose of Banjar is to held
each other in line with the social activities like wedding ceremony, people
death, take a part of refurbishment of temple, road, cleanliness of the area,
security protection and do all the activities together in economic, social and
ritual field. The Banjar is lead by Klian Banjar, which is consisted of 50 -
200 family leaders.
SUBAK
SUBAK is a social-economic organization to
organize the irrigation system in Bali where the member it self is from the
owner of the rice field. The focus activities of Subak is around the irrigation
of the rice field and beside of that it is also has the economic activities and
done some religious activities in Pura Subak. In Bali there are about 1300
Subak, where the structurally consist of Subak Tempekan and Subak Gede. Subak
it self is lead by 'Pekaseh' and he/she organize and arrange the water
irrigation system, irrigation maintenance, to schedule the rice plantation
including the cleaning of insect program.
SEKAA
SEKAA is a group of social community,
which has proposed to conduct the special event and inclined based on
voluntary. The Sekaa is built based on the same propose, norm and activities.
In Bali, there are a lot of Sekaa that effect to all aspect Balinese life from
the security, social, environment, religion, economic, art etc. The most of
Sekaa in Bali
is more glow is Art Sekaa and based on survey is about 1500 organization.
GOTONG ROYONG
GOTONG
ROYONG is a
fundamental of Balinese solidarity which is used on the day life of Balinese
based on reciprocity where the activities given will get the obligation to
return as sociality. A base of Gotong Royong is forming to help each other and
free social activities.
Cosmogony and Tri Hita Karana
The Balinese
Concept is fundamental from the Hindu Religion concept, which is more
popular called TRI
HITA KARANA where nowadays this concept is becomes the point of the
hotel, restaurant and other building assessment in the world. The Balinese
Traditional Architecture is not only monumentally, but also has the aspect
philosophies and religious. The cosmogony is oneness of three worlds (Tri
Bhuana) which is called Bhuhloka, Bhwahloka, and Swahloka. Each of this world
(Loka) has habitants it self.
Tri Hita Karana Concept for Life
In addition of this three concepts
cosmogony, it is also own contextual with Hindu
Religion Concept, which is called Tri Hita Karana (three of the harmony,
balance to create the peaceful and happiness). Tri Hita Karana word is come
from Sansekerta Language that has meaning to keep the harmony and balance
between human to God, human-to-human and human to environment. These three concepts
is most popular in Bali
spread out as follows:
PARHYANGAN
Parhyangan is one of the three
concept related to the god. On this stage, the human is demanded to keep the
harmony and balance with god. This concept has huge meaning where the Balinese
discipline and full confidence to do this. It is not only including to pray at
the temple, however it is cover all the activities which has a good thing in
the life like build the temple, cleaning the temple, keep the religion symbols
well a lot of thing we can do on this concept.
PAWONGAN
Pawongan in this concept is required
to keep the harmony and balance between human to human and this concept has
emphasized how to keep good relation with others. The simple ways to execute
the implementation of this concept are to conduct three good things like to
think the good thing, to speak the good thing and to conduct the good thing. By
conducting three good things that is called Tri Kaya Parisuda, it is ensure we
can conduct this concept.
PELEMAHAN
Palemahan,
this word is come from lemah that is meaning the land or environment. Generally
the Pelemahan in Tri Hita Karana is all aspect related to the environment. Base
on this concept the Balinese has treated the environment well and they believe
that the good environment will give their life better. Once example the
Balinese treat the environment that on the Tumpek Uduh based on the Balinese
calendar, the Balinese give the offering to the tree with the purpose that the
tree has given them prosperity and a lot of thing they can do to keep the
harmony and balance with the environment.
Jalan-jalan ke Bali
Tips Liburan Bali terlengkap
Pertunjukan Tari Barong Bali
Tari Barong
adalah salah satu tarian bali yang berasal dari khazanah kebudayaan Pra-Hindu.
Tarian ini menceritakan tentang pertarungan antara kebaikan (dharma) melawan
kejahatan (adharma). Dalam tarian ini wujud kebaikan dilakonkan oleh Barong,
yaitu penari dengan kostum binatang berkaki empat, sementara wujud kejahatan
dimainkan oleh Rangda, yaitu sosok yang menyeramkan dengan dua taring yang
sanggat tajam di mulutnya.Biasanya cerita pertarungan antara Barong dan Rangda juga dilengkapi dengan tokoh-tokoh lainnya, seperti Kera (sahabat Barong), Dewi Kunti, Sadewa (anak Dewi Kunti), serta para pengikut Rangda. Tari Barong yang biasa ditampilkan di ada beberapa jenis, di antaranya Barong Ket, Barong Bangkal (babi), Barong Gajah, Barong Asu (anjing), Barong Brutuk, serta Barong-barongan. Namun, di antara jenis-jenis Barong tersebut yang paling sering dijadikan pertunjukan adalah Barong Ket, atau Barong Keket yang memiliki kostum dan tarian cukup lengkap.
Jadwal pertunjukan :
- Kuta dari pukul 09.00 – 10.00 wita
- Batubulan ( Gianyar ) dari pukul 09.30 – 10.30 wita
Hanya perlu membeli tiket seharga Rp 80.000/orang, kamu sudah bisa menikmati pertunjukan tari barong dan ambil foto sepuasnya.
The Barong Dance
"Lord of the forest" and magical protector of Balinese villages, the Barong is a mythical, shaggy half-dog, half-lion creature, with a long mane, fantastic fangs, and bulging eyes. It is propelled by two men who maneuver the costume with whimsical and mischievous movements to express its fun-loving nature. The Barong's opponent is Rangda, the evil witch who rules over the spirits of Darkness. The Barong dance epitomizes the eternal struggle between good and evil. The fight of Barong and Rangda is also a topic of traditional narratives performed in temples and takes various forms. The Barong will snap its jaws at the gamelan, prance around a bit, and enjoy the acclaim of its supporters - a group of kris-wielding men. Then ferocious Rangda will then appear lolling her long tongue, baring her threatening fangs, her neck draped with human entrails...not a pretty sight.
The duel begins. Each opponent tries to overcome the other with magical powers but when things do not look too good for the Barong, supporters will lunge at Rangda with krises to weaken or stall her. In retaliation, Rangda would put them all into a trance with her mystical powers and make them stab themselves with their weapons. Fortunately, the Barong possesses magic that is strong enough to cast a spell on the krises from harming the men. This part would be the highlight of the dance; the gamelan rings madly and intensely as the men rush back and forth waving their krises in a frenzy, sometimes even rolling on the ground in a desperate attempt to stab themselves. Often, there seems to be a plot to terrify the audience in the front row! Eventually, Rangda will retire, defeated. And once again, good will reign over evil.
One of art markets that are already popular among visitors is
Sukawati art market. Sukawati road-facing market located in
the Gianyar Regency has a strategic position as it is passed
through during the tour to some destinations to the east.
Sukawati art market is close to the village of Celuk, the
center of gold & silversmiths. You can drop in after watching
barong and kris dance performance in the morning. It can be
accessed through bemo transport, tour bus or taxi.
It is just like a myriad of art shops that offers wide range
of products. Simply one stop-shopping. Many items sold in Kuta
or other areas originate from here and are considerably
cheaper if bought here. One outlet may provide more than one
item, like garments, souvenirs, paintings (unframed),
basketry, colorful kites and so on.
Buying giveaways to commemorate the holiday has to be a must.
So take advantage the holiday time to find out something
memorable on the art market of Sukawati. This market is very
unique as it is already open in the early morning and visited
by both domestic and foreign visitors. It is very close to
other destinations in the Gianyar Regency.
A good place to explore the shopping experience in a natural
way, get in touch with common people and see how the locals go
about the art of negotiation. Yes, shopping is also an art of
experience. On the one hand, you may enjoy many kinds of art
products all in one spot. It reflects the diversity of local
art and crafts and the creativity of its people.
You will get a new experience in the 'art of buying'. You must
bargain the price eventhough the vendor offers you a "morning
price." Meaning especially low, to start off the trading day
with a few sales already and make the day a successful one.
It does not mean you have to accept it as it is, it's
not a fixed price. If you are good at bargaining you will get
the best price you can afford and the vendor keeps "smiling
and thanking you". If they don't smile anymore, you know his
cost is higher than your offer. Good at bargaining is a bit
more than insisting on a price. You need to provide a logical
reason why your offer is so low and still should be accepted.
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