The very essence of the Balinese culture is dance and drama, which is performed during temple festivals and in ceremonies. The dances performed in hotels is a small fraction of what Balinese dance has to offer.
Balinese dance goes as far back as Balinese written history with much of the heritage originating from Java. Ironically, as a result of the Islamisation of Java, the Javanese culture has disappeared but has still survived in Bali and has become part of classical Balinese culture.
Balinese dance cannot be separated from religion. Even the dances for the tourists are preceded by many dancers praying at their family shrine for taksu (inspiration) from the gods.
Dance fulfils a number of specific functions: It may be a channel for visiting gods or demons, the dancers acting as a sort of living repository. It may be as a welcome for visiting gods. It may be entertainment for visiting gods.
The typical posture of Balinese dance has the legs half-bent, the torso shifted to one side with the elbow raised and lowered in a gesture that displays suppleness of the hands and fingers. The torso is shifted in symmetry with the arms. If the arms are to the right, the shifting is to the left and vice-versa.
The Ramayana
The story of the Ramayana greatly inspires the Balinese. Many of their dances are based on this great story which is often depicted in a ballet.
The Balinese version differs from the Indian Version. It is told that Rama, as the first son in a family, was the heir to the Ayodya kingdom but the king's second wife, through her treachery forced the king to crown her own son as the King of Ayodya and asked him to send Rama and his wife into exile.
Because he respected his father, Rama went with his wife called Sita and his beloved younger brother, Laksmana into a forest called Dandaka. Usually the first act of the ballet depicts Rama and entourage in the heart of the Dandaka forest.
Rahwana, the evil King of Alengka, enchanted by the beauty of Sita, wanted to have her as his concubine. He sent one of his knights, Marica, to temp Sita by transforming himself into a golden deer. Sita, captivated by her curiosity, asked her husband to catch the golden deer.
The next act explains how Rama succeeds in hunting the golden deer but as his arrow struck the golden deer it transformed back into Marica. Meanwhile Sita heard a distant cry for help. Laksmana, who had been asked by his brother to look after his sister-in-law, tried to explain to her that the cry sounds very suspicious. But nevertheless, Sita was convinced that someone was in need of help. So she sent Laksmana to look for this person and to help whoever it is. In his desperate attempt, Laksmana asked Sita, no matter what would happen, to stay inside the guarding circle that he created.
Rahwana, knowing that Sita was protected by the circle transforms himself into an old priest. He approaches Sita and asks her for a drink. Sita, without hesitation, extends her hands beyond the circle to hand him the water. Rahwana takes the advantage, snatches her hand and takes her to his palace in Alengka.
On the way, Rahwana encounters a mighty eagle Jatayu. By every means possible, Jatayu tries to rescue Sita from the evil king but fails and is killed by Rahwana.
Rama and Laksmana find the dying Jatayu who tells them the whole story of what had happened to Sita.
In his attempt to release his wife, Rama seeks the help from Hanoman and his monkey soldiers. Hanoman finds Sita in the palace's garden. She had been asked by Rahwana to marry him but she would rather die. Hanoman convinces Sita that he is Rama's messenger and talks of a plan.
Rahwana catches Hanoman and burns his tail but in so doing, set fire to the palace's' gardens. The pyrotechnics can be very impressive.
In the last act, Rama and his troops are depicted attacking Rakhwana's palace. Finally Rama manages to kill Rahwana and therefore takes his wife back to his country.
The abridged version ends here but if you see paintings in Kamasan style based on the Ramayana story, you would notice that in the last of serialised paintings, Sita had to prove she was still pure, and had not been tainted by Rahwana, by plunging herself into a fire. Because of her faith in her husband, God saved her from the fire and she lived happily ever after with Rama.
The Indian version reveals a very different ending with Sita saved by Mother Earth, never returning to her husband.
The Welcome Dance - Tari Panyembrama
The Panyembrama is probably the most popular Balinese social dance. In keeping with its meaning in the Balinese Language, Panymebrama is frequently staged to welcome guests of honour who are making a visit to this islands of the Gods.
Four or eight young girls bearing a bokor, a heavily engraved bowl made from silver or aluminium, laden with flowers, dance expressively to the accompaniment of vibrant gamelan music.
During the dance, the flowers are scattered over the guest or audience as an expression of welcome. The Panymebrama has taken many of its movements from temple dances, such as the Rejang Dance, Pendet and Gabor, which are considered sacred and performed exclusively for God. There is an analogy between the secular Panymebrama and the religious temple dances, as all these dances are welcoming dances, the difference being in the place in which they are stage.
The Tari Panymebrama comes under the Balinese classification of Legong (individual dances), because it has no connection with other dances, has no story and was specifically created for welcoming and entertainment purposes.
The hospitality and friendliness conveyed through the smiles of the Panymebrama girls, charms the audience and so is very fitting as an opening for a show, etc.
The Yudapati Dance
Yudapati is a dance which depicts a male character but is performed by female dancers. The word Yudapati is derived from Yuda which means war and Pati which means death. The dance represents the kamikaze warrior in defending the truth. The dance was created in 1987. It is based on the Baris dance.
The dancer wears typical male attire, headcloth, shirt, carved leather belt and other jewellery. The reason for a male being performed by a female is that the choreographer wishes to reveal all the subtle gestures and movements in the dance by using the flexibility of a woman's body.
Male dance performed by females is called Bebancihan. A number of other dances have been created in the s style, such as Margapati, Trunajaya, Prawireng Puti, Wiranata and Danur Dara. They require masculine interpretation and expression which is quite hard for female dancers. Yudapati dance was originally performed for religious purposes but nowadays is performed regularly as a tourist attraction in some restaurants.
The Ghopala Dance
This dance provides the audience with an interesting insight into the lives of people who live in a simple and pure manner in an environment of blissful tranquillity. This dance originated in 1984 and usually performed by five boy dancers. The characters of the Ghopala dance are especially funny and will draw laughter from the audience.
The Ghopala theme depicts the world of children herdsmen who gleefully meet and play along the boundaries of rice fields while tending their cows. Their lives are filled with happiness as they dance and play in a way which highlights their individual characters. They never tire of their duties as herdsmen, faithfully defending the lives of their cattle. Thus the audience are transported to a distant time when people lived in peace and contentment, an age which had not yet become influenced by the bustle of business which now constantly steals our time.
The Semarayana Dance
As we know, there exists many art forms such as music, painting, poetry, drama, sculpture, etc. and, of course, dancing is yet another and is a popular form of expression. Artists will take a certain aspect of a medium, build on it to form another. This is the case of the Semarayana dance developed in 1994 as a subject for a thesis submitted by Ms Ni Nyoman Sri Armita to the Indonesian Arts Academy of Denpasar for her graduation.
The main character is Dewi Chandra Kirana, a princess from the kingdom of Daha who disguised herself as a male youth so she could venture out and seek her beloved who had disappeared without a trace.
With shoulder length hair, commonly used centuries ago throughout Java and Bali, the princess was unrecognisable as a female. The symbol of manhood which fooled people she met on the road, was the use of the Balinese male headgear called the Destar. It is made from material that wraps around the head and has an artistic formation of bunched material at the front.
Balinese males still use the destar when attending ceremonies. The feature of the destar is the decorative use of gold lines.
Dewi meets her beloved but due to her disguise and the fact that he is partly obscured when they meet, a fight develops. In the ensuing melee, the princess's destar is knocked from her head and her sweetheart, Raden Inu Kertapati, recognises her and rushes to her side to embrace her.
And, of course, they lived happily ever after.
The Barong Dance
The are several versions of the Barong Dance, as Bali has an abundance of myths and legends. There is Barong Ket, Barong Asu (Dog Barong), Barong Macan (Tiger Barong), Barong Bangkal (Pig Barong), Barong Gajah (Elephant Barong) and others.
One of the well known stories on which the Barong Dance is based, is the Kunti Seraya. The plot is very intriguing, showing the effect of the Gods intervention upon the people through supernatural powers.
It is told that Dewi Kunti, from the royal family of Hastinapura, was very ill. As a devotee of the Goddess Durga, she seeks help, however, the Goddess tells her that the price of health is her own son, Sahadewa. It seems that the Goddess fancied Sahadewa's young and luscious flesh for her dinner.
Dewi Kunta recovers from her illness and it is time to pay the price. She regrets her decision to pay the price but a promise is a promise. One of the Goddess's followers put her into a trance and enters her body. She becomes a terrifying creature and unconsciously beats Sahadewa mercilessly. She then takes him to an unpenetratable jungle and ties him to a tree. Later Sahadewa is given immortality by God and she overcomes the wrath of the Goddess and she is able to release her son.
The Sanghyang Jaran Dance
The unique feature of the Sanghyang Jaran dance is the courage of the dancers who in a state of Kesurupan or trance, calmly step and trample on red hot coals just as if they were walking in cold water.
This dance is believed to have the power to invite the gods or sacred spirits to enter the body of the dancers and put them in a state of trance. It dates back to the ancient Pre-Hindu culture, a time when the Balinese people strongly believed that a dance could eliminate sickness and disease. The is dance is usually performed in the fifth or sixth month of the Balinese traditional calendar as it is believe that during these particular months, the Balinese are vulnerable to all kinds of illnesses.
The War Dance - Gebug Ende
The Gebug Ende is a combination of dance and trial of prowess. It is usually performed by two to sixty male dancers who dance and fight on stage in pairs. Each dancer/fighter carries a one and a half metre long rattan stick as as a weapon and a shield called an ende. During the performance the two men try to beat one another with the stick while using the ende to protect themselves. The dance is called Gebug Ende as it literally means beating the ende or shield. One cannot afford to make mistakes in this dance as otherwise injury results.
The Gebug Ende is quite unique as it has certain rules that have to be followed by the participants. Led by a jury, this dance starts with two dancers, while the rest sit in a circle, cracking jokes and singing, while waiting their turn. The jury decide which of the two contestants loses the game and has to leave the stage. Then they will call the next men to the stage. This continues until all have had a turn. Sometimes the fight becomes very fierce and the dancers get thrown of the stage from the blows of the rattan stick. Bruises and wounds are common in this ritual.
Legong Trunajaya - The dance of love and emotions
The Trunajaya dance describes the emotions of a young man through love and passion. The dance movements reflect the theme of courtship and love.
Truna meaning 'single' and jaya meaning 'to win' immediately gives an understanding of the dance. Ironically, the dancer are young women who take on the role of young men. The women wear a 'destar' normally worn by men and an unusual loin-cloth called a 'kancut'. The Trunajaya is normally danced by a single female but sometimes two, dancing together in synchronous movements and to the mesmorotic sounds of the 'Gong Kebyar', a fast, rhythmic beat which goes in harmony to the dance. The dance was created by Wayan Wandres, from Singaraja, Northern Bali.
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The Beaches
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The island
of Bali is blessed with
the line of beaches surrounding it. Sanur. On the southeastern side of Bali, Sanur beach is easily reachable from Denpasar, about a 5 to 10 minute drive. Sanur is an excellent site to watch the sun rises, as you jog along the white sandy beach. Being one of the first resort developed in Bali, Sanur maintains its traditions. Only a stone thrown away from the beach, ancient temples stand as solemn as they have been in centuries past. Kuta and Legian Practically on the opposite side of Sanur, the beaches of Kuta and Legian stretch on the southwestern side of Bali, again only about 5 to 10 minute drive from Denpasar or the airport. Surfing is a major activity in these beaches. Shops, Kecak dance performances, pubs, and other facilities make Kuta a tourist mecca. Jimbaran Jimbaran is directly south of the airport, on the way from Denpasar towards Nusa Dua. The village of Jimbaran is the narrow neck of the island of Bali, and thus it has two remarkably different beaches. On the west, Jimbaran Beach faces the Jimbaran Bay, recently lined by new luxurious resorts. On the east, the beach faces the body of water sheltered by Benoa Harbor. Nusa Dua Nusa Dua is a new luxurious resort area where the world's most sumptuous hotels gracefully integrate into the beautiful white beaches. Crystal clear water provides excellent snorkeling and diving site, and the waves on the northern and the southern part of Nusa Dua allow for great surfing opportunity. Soka Beach Further northwest from Denpasar, on the way to Gilimanuk, the ferry port town that connects Bali and Java, there is a small quiet beach called Soka Beach. Medewi Beach Continuing along the path towards Gilimanuk, near the village of Pulukan, the beach of Medewi is another beautiful beach. Lovina Beach Near the northern tip of the island of Bali lies a stretch of villages by the Bali Sea. Lovina Beach is the name. It is well known as an excellent site for sunset watching, snorkeling, and diving. Night life activities are also abound, as well as chartered boats to go out into the sea. If you like what Kuta offers but do not like the crowd, Lovina Beach is for you. |
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Bali
Natures |
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Bali is also blessed with a beautiful nature.
Endless sand beaches envelope most of Bali's shores, where silvery waves come
home to. Tall cliffs border the eastern shores. Volcanic mountains crown
the center of Bali, home to Gunung Agung (Mount Divine), the sacred abode of
the gods and the goddesses. Green
forests stretch on from east to west of the northern part of Bali,
nurturing numerous flora and fauna that can only be found here.
Beaches The beaches of Bali are, in one word, magnificent! From the stretch of sand in Kuta, fenced far in the South by the runway of Denpasar International Airport; the peaceful elegance of Nusa Dua; the mysterious quietness and somberness of Candidasa, as a temple dedicated to the sea goddess submerges; to the spectacular sunsets of Lovina in the North. Waves The beaches of Bali readily accept the arrival of the waves, time and time again. And they vary. In the stretch of Nusa Dua alone you can find soft waves for the beginner surfers to the wildest of waves that will challenge even the most experienced of the surfers. Yeh Saneh in the East, Uluwatu in the South, and Medewi slightly to the West, are all excellent site for waves. Lakes There are four lakes in Bali. Lake Batur, the old crater of Mount Batur, is the largest. Kintamani offers an excellent panoramic view of the lake, and the lake itself effectively fences in the Bali Aga people in Trunyan. Lake Bratan, the second largest, is near the town of Bedugul. Lake Buyan and Lake Temblingan are also near.
Mountains
The string of volcanic mountains crown the Northern part of Bali. The tallest is Gunung Agung (or Mount Divine), the abode of the gods and the goddesses. Forests, Flora, and Fauna The wild forests of Bali can be found mostly in the Bali Barat National Park, dedicated to the preservation of wildlife. And the tropical climate of Bali endows it with a rich flora. In the forests, tall tropical trees reach for the sky, nursing a variety of wild orchids to grow on their branches. Pine trees carpet the mountains. Ever protective, waringin trees faithfully stand at the center of every village. Flowers beautifully punctuate little gardens in every house, and most importantly, spreading their sweet fragrance into the midnight air and completing offerings to the gods and goddesses. Bali tigers (Panthera tigris balica ) used to roam these forests, but now you can only find deer or wild boars. Bali Barat National Park is also reestablished as the new habitat for Bali Starling (Jalak Bali), a sweet, white bird that has inspired many a painter. Sea turtles, another protected species, can playfully accompany you when you go snorkeling in the the waters of Nusa Dua. |
Waves
Lakes
Mountain
The forest, flora n fauna
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You'll encounter a festival almost every day, celebrating the cycle of birth, death and rebirth. Anthropologists believe that the Balinese are descended from the ancient Chinese, the Indians and Arabs from the west, and others who came to the island directly or via Java.
Bali Temples Guide
Bali Attractions
Many claim that there are actually more temples than homes in Bali. Strictly speaking, many temples are really shrines but the number of religious compounds in Bali is said to be over 10,000.Normally peaceful and uninhabited, Bali’s temples transform into scenes of great activity and are ornately decorated during festivals with traditional dance performances, cockfighting and gambling. You’ll find that each of Bali’s temples is facing towards the mountains, the sea or sunrise.
Besakih Temple
Over a thousand years old, Besakih Temple is known as the "Mother Temple of Bali". Perched on the slopes of Mount Agung, at a lofty 1,000 metres (3,000 feet) Besakih is the biggest and holiest of all the Balinese temples. Named after the Dragon God believed to inhabit the mountain, it's said to be the only temple where a Hindu of any caste can worship.Eighteen separate sanctuaries belonging to different regencies and caste groups surround the three main temples dedicated to Shiva, Brahma and Vishnu. To the Balinese, visiting the temple sanctuaries is a special pilgrimage. The mountain top setting gives it a mystical quality. Steps ascend through split gates to the main courtyard where the Trinity shrines, dedicated to Shiva, Brahma, and Vishnu, are wrapped in cloth and decorated with flower offerings. There are a number of temples but many of their inner courtyards are closed to visitors. If travelling on your own, try reach Pura Besakih before 09:00, when many tourist buses start to arrive, so that you can take in the lovely temple in the quiet Balinese morning.
Location: Mount Agung Elephant Cave
Goa Gajah or Elephant Cave (allegedly derived from the name Lwa Gajah – originally meaning elephant waters) is one of the most historical sites in Bali and was developed in the 11th century, on the western edge of Bedulu Village only six kilometres out of central Ubud. The entire site of Goa Gajah was partially destroyed by natural disaster and lay undetected for centuries before being rediscovered by a team of Dutch archaeologists in 1923.Goa Gajah is a place to meditate and worship the spiritual essence of the site, Lord Ganesha - the Hindu God of knowledge and wisdom who is characterised as an entity by his elephant head and four arms. Surrounding the site, you can find two traditional bathing pools, some artefacts and statues, and the cave itself, which is decorated with stone relief work showing a demonic face with an open fanged mouth that reveals the entrance.
Location: On the western
edge of Bedulu Village only six kilometres out of central Ubud Garuda Wisnu Kencana Monument
Prior to its recent incarnation, the Garuda Wisnu Kencana (commonly known as GWK) monument was an abandoned limestone excavation which was no longer used by locals. Today the GWK can be compared to Thailand's Sleeping Buddha or the Giant Buddha in Hong Kong.Aside from the beautifully carved limestone cliff surrounding the monument, GWK also has various facilities, from restaurants to an amphitheatre where occasional performances take place. Please make sure to visit GWK at dusk to catch its dramatic panorama when the sunset cuts through the limestone carved wall.
Location: Bukit Peninsula,
at the southern end of Bali. Between Uluwatu and Nusa Dua Goa Lawah Temple
Not for the faint-hearted. The Goa Lawah Temple is located in a cave filled with thousands of bats and is said to lead all the way to Besakih. Goa Lawah is one of six temples open to the public and is revered as a sacred site for Brahma. Located on the sputhr east coast.
Location: Candidasa Gunung Kawi
Gunung Kawi (meaning ‘carving in the mount’) is a 10th century Hindu temple complex located in the Gianyar regency. To explore the entire site, descend the 300-step stone stairway leading to a beautiful valley where you will find ten seven-metre-high memorials carved into the rock face.Four can be found on the west side and five on the east side of the river, while to the south across the valley lies another. According to legend, these ruined temples are the memorial shrines of the king's concubines and his family. These days, Gunung Kawi sanctuary is still used for ritual ceremonies and locals gather periodically to offer the usual gifts and to pay homage to God, the ancient king, and his family.
Location: Tampaksiring north
east of UbudPura Blanjong
Pura Blanjong was built as a cenotaph of Sri Kesari Warmadewa and commemorates his journey to the east. Sri Kesari himself was a Syailendra descendant (a Buddhist-ruled dynasty which ruled Java) and the founder of an architectural wonder, Borobudur Temple. According to the Blanjong inscription dated 914 A.D. Sri Kesari was a Buddhist apostle who soon established a Mahayana convent at Blanjong village. Along with the inscription, 15 metres northwest, is a Ganesha statue (the elephant-headed son of Shiva). Pura Blanjong is characterised by its coral instead of brick wall and twin sitting calf statues inside, sadly from which both heads have been removed. Apart from being one of the most sacred temples, Pura Blanjong shows you things of architectural and archeological interest.
Location: Sanur BeachPura Penataran Sasih
Pura Penataran Sasih is situated six kilometres northwest of Gianyar and two kilometres north of Pejeng. It is also known as ‘The Moon Temple’ and derived its name from an ancient bronze kettle drum (or nekara) called ‘Moon of Pejeng’ which is now kept in its inner chamber. It is the largest bronze kettle in Southeast Asia at about two metres in length and allegedly dates from 300 BC. The design is associated with the Dong Son culture of Southern China and Northern Vietnam of around 1500 BC. This highly valued and ornate gong is in the shape of an hourglass and is beautifully engraved: it is regarded as Indonesia’s most important Bronze-Age antique.Location: East of Ubud in Gianyar Regency
Pura Petitenget
Although Pura Petitenget (found at the T-junction on Jalan Petitenget) is not as big and as popular as Bali’s other major temples of Pura Besakih, Pura Uluwatu and Pura Ulun Danu, it is famous for its legend. This temple is believed by Hindus to be one of nine pillars known as 'Kayangan Jagat', temples of nine wind eyes built in the 11th Century by Empu Kuturan (a Javanese Sage) who came to Bali bringing religious law and the formation of traditional villages.The nine eyes are also believed to protect the island from southward threats through their intricate positioning. Another story relates that Pura Petitenget is known as the Temple of the Secret Box – a name inherited when a holy man from Java arrived in Bali intending to teach the Balinese community about good manners. He brought a box and accidentally left it behind when he returned to Java. The Balinese people, in fearfulness of the holy man, dared neither to touch nor open it, and so decided to build a temple around it. It’s your choice to either believe it or not, but be sure to stop by this temple on special occasions and holy days: you’ll witness a spectacular ceremony here.
Location: Jalan Petitenget,
SeminyakPura Samuan Tiga
Samuan Tiga Temple is strategically located set back a little from the main road between Ubud and Tampaksiring, and used to be one of the most popular tourist destinations. This sacred temple was the royal temple of the Udayana Warmadewa dynasty (a Balinese King who ruled in the 10th century). Samuan Tiga means three (tiga) meetings (samuan) and the temple is assumed to be the venue for the great meeting between Gods, deities and saints. Pura Samuan Tiga offers unique architecture and a stunning view, flanked by two rivers, the Pande and Tegending, on the east side and the remains of an ancient pool on the west side, with sacred Banyan, Pule and Curiga trees growing around the site. The temple has seven courtyards separated by walls and split gates, but connected by stairs leading up to the innermost courtyard, believed to be the meeting hall of three holy spirits.This stunning architecture and history provides the annual stage for the oldest Balinese Hindu ritual. Siat Sampian (Sampian War) takes place during the 10th full moon (in Balinese called Purnama Kadasa, it falls every April) and normally lasts from 06:00 to approximately 13:00. The 'war' is performed by over 200 males and dozens of females, who attack each other using young-coconut leaf arrangements called sampian. Make sure you don’t miss this unique amazing ritual while you’re here for holiday in April.
Location: Between Ubud and
Tampaksiring Pura Tirta Empul
The name 'Tirta Empul' refers to a crystal-clear stream which is used as holy water for various religious ceremonies. Legend has it that the God Indra, to revive his forces who had been poisoned by Mayadanawa (a powerful evil King from Blingkang, a region north of Lake Batur), created this sacred spring.Entering the main courtyard, the only spot tourists are allowed to enter, you can enjoy the exquisite twin shrines and split gate. Inside the inner sanctum, you can see a number of rectangular bathing pools where for more than 1,000 years the Balinese have come to bathe for healing and spiritual merit.
Location: Tampak Siring,
between Ubud and KintamaniPura Ulun Danu Bratan
No less stunning is the mountain resort of Bratan, in Bedugul, and the magnificent Ulun Danu, an inspiring place of worship that appears to rise out of waters of Lake Bratan.
Location: Bedugul, central
highlands of BaliTaman Ayun Temple
Very distinctive pagodas symbolising the sacred mountain Mahameru, residence of the Supreme God surrounded by a moat in this lovely temple in Mengwi.Originally dated from 1634, Taman Ayun has been restored and enlarged in 1937. On its festival day (odalan) hundreds of women come into the temple bringing colorful offerings, which they place together in front of the merus.
Location: Mengwi, north west of Denpasar Tanah Lot Temple
The royal Taman Ayun temple was built by one of the last priests to come to Bali from Java in the 16th century. The temple stands on top of a huge rock, surrounded by the sea and is one of Bali's most important sea temples. Tanah Lot pays homage to the guardian spirits of the sea.Ancient rituals pay homage to the guardian spirits of the sea. Poisonous sea snakes found in the caves at the base of the rocky island are believed to be guardians of the temple, standing virgil against evil spirits and intruders.
The best time to see Tanah Lot is in the late afternoon when the temple is in silhouette.
Location: Tanah LotTemples in Kuta Beach
Kuta does not have a popular main temple to visit, but sprinkled along the main road you can find regular temples worth a peek at during your holiday here. Positioned on Jalan Pantai Kuta you’ll find Pura Batu Bolong; on Kuta Sidewalk is Pura Penataran; and on Kuta Beach a few metres east from the main gate is Pura Kalangan Majelangu. Every morning and late afternoon right after sunset, the Balinese who live in the neighbourhood come here to pray and present offerings.The temple is busy only on special occasions during holy days and ceremonies such as Melasti: three or four days prior to Nyepi (the day of silence that falls on Bali’s Lunar New Year), the Balinese gather to send prayers and offerings to Sanghyang Widhi/Vishnu-Devas-Bataras on the beach to respect them as the owners of the land and sea.
Location: Kuta Beach Uluwatu Temple
Bali's most spectacular temples located high on a cliff top at the edge of a plateau 250 feet above the waves of the Indian Ocean.Dedicated to the spirits of the sea, the famous Pura Luhur Uluwatu temple is an architectural wonder in black coral rock, beautifully designed with spectacular views. A popular place to view the sunset.
Location: 45 minutes from
Nusa DuaBali Museums Guide
Bali Attractions
Most of Bali's museums and galleries are centred in Ubud, but culture and history rich Bali is peppered with museums and galleries - all individually interesting! These museums and galleries offer paintings, wood carvings, textiles and all kinds of souvenirs for viewing and also purchase.The Museum Puri Lukisan in centre of Ubud, the Neka Museum in Campuhan, Seniwati Gallery and Agung Rai Museum in Pengosekan are a must, to see the difference between creative art and more commercial products.
Arma Museum
The Agung Rai Museum of Art (or ARMA as it’s commonly known) was officially opened in June 1996. The Arma building is a compound including a resort, restaurants, painting classes, a museum and also an open stage for performing arts. The museum showcases a permanent painting exhibition by Balinese, Indonesian and foreign artists, including the collection of the Arma Foundation and work loaned from the collection of Mr. and Mrs. Agung Rai, and ranges from traditional to contemporary works by Walter Spies, Willem Gerald Hofker, Rudolf Bonnet, Adrien Jean Le Mayeur de Merpres, Raden Saleh Syarif Bustman and Willem Dooijwaard. The facilities provide the opportunity to enjoy theatre, music and traditional Balinese dance every Saturday and Sunday night.
Location: Jalan Pengosekan,
UbudMuseum Agung Rai
Sprawling all over six hectares, the Museum Agung Rai was built based on the concept of a "living museum". It displays paintings and holds stage presentations for various art forms; and is a place for karawitan. It comes complete with an arts library and book gallery, hotel, restaurant, cafe, and coffee shop. One of the museums main specialty is its terrific views of Ubud, with rice fields and trenches integrated into part of the museum.Museum Antonio Blanco
The museum features Hispanic styles mixed with Balinese traditional touches, which embodies Antonio Blanco's life, dreams and fantasies, and houses his own creations drawn from periods of his long career. To explore the entire three-storey building of Blanco’s kingdom, you are welcome to ask his family to guide you around the museum and grounds.
Location: Campuhan, UbudBali Culture
Bali is truly a
unique isle; from its timeless traditions, colourful pageantry to rites of
passage. The people possess a genuine sense inner happiness that is perhaps
attributed to the strong Hindu faith. There is a fundamental belief in the
spiritual world which should always be in balance and harmonize with the
physical world to attain peace and prosperity.HISTORY
Although there are no artifacts or records dating back to the Stone Age, it is believed that the first settlers on Bali migrated from China around 2500 BC. By the Bronze era, around 300 B.C. quite an evolved culture existed in Bali. The complex system of irrigation and rice production, still in use today, was established around this time.
History is vague for the first few centuries. A number of Hindu artifacts have been found dating back to the 1st century, yet it appears that the main religion, around 500 AD was predominantly Buddhist in influence. A Chinese scholar, Yi-Tsing, in 670 AD reported on a trip to India, that he had visited a Buddhist country called Bali.
It wasn't until the 11th century that Bali received the first strong influx of Hindu and Javanese cultures. With the death of his father around AD 1011, the Balinese Prince, Airlanggha, moved to East Java and set about uniting it under one principality. Having succeeded, he then appointed his brother, Anak Wungsu, as ruler of Bali. During the ensuing period there was a reciprocation of political and artistic ideas. The old Javanese language, Kawi, became the language used by the aristocracy, one of the many Javanese traits and customs adopted by the cause.
With the death of Airlanggha, in the middle of the 11th century, Bali enjoyed a period of autonomy. However, this proved to be short-lived as in 1284, the East Javanese king Kertanegara, conquered Bali and ruled over it from Java. In 1292, Kertanegara was murdered and Bali took the opportunity to liberate itself once again. However, in 1343, Bali was brought back under Javanese control by its defeat at the hands of Gajah Mada, a general in the last of the great Hindu-Javanese empires, the Majapahit. With the spread of Islam throughout Sumatra and Java during the 16th century, the Majapahit Empire began to collapse and a large exodus of aristocracy, priests, artists and artisans to Bali ensued. For a while Bali flourished and the following centuries were considered the Golden Age of Bali's cultural history. The principality of Gelgel, near Klungkung, became a major centre for the Arts, and Bali became the major power of the region, taking control of neighboring Lombok and parts of East Java.
The European Influence
The first Dutch seamen set foot on Bali in 1597, yet it wasn't until the 1800's that the Dutch showed an interest in colonizing the island. In 1846, having had large areas of Indonesia under their control since the 1700's, the Dutch government sent the troops into northern Bali. In 1894, Dutch forces sided with the Sasak people of Lombok to defeat their Balinese rulers. By 1911, all the Balinese principalities had either been defeated in battle, or had capitulated, leaving the whole island under Dutch control. After World War I, Indonesian Nationalist sentiment was rising and in 1928, Bahasa Indonesia was declared the official national language. During World War II, the Dutch were expelled by the Japanese, who occupied Indonesia from 1942 to 1945.
After the Japanese defeat, the Dutch tried to regain control of their former colonies, but on August 17, 1945, Indonesia was declared independent by its first President, Sukarno. After four years of fighting and strong criticism from the international community, the Dutch government finally ceded and, in 1949, Indonesia was recognized as an independent country.
THE PEOPLE
Life in Bali
is very communal with the organization of villages, farming and even the
creative arts being decided by the community. The local government is
responsible for schools, clinics, hospitals and roads, but all other aspects of
life are placed in the hands of two traditional committees, whose roots in
Balinese culture stretch back centuries. The first, Subak, concerns the
production of rice and organizes the complex irrigation system. Everyone who
owns a sawah, or padi field, must join their local Subak, which then ensures
that every member gets his fair distribution of irrigation water.
Traditionally, the head of the Subak has his sawah at the very bottom of the
hill, so that the water has to pass through every other sawah before reaching
his own. The other community organization is the Banjar, which arranges all
village festivals, marriage ceremonies and cremations, as well as a form of
community service known as Gotong Royong. Most villages have at least one
Banjar and all males have to join one when they marry. Banjars, on average,
have a membership of between 50 to 100 families and each Banjar has its own
meeting place called the Bale Banjar. As well as being used for regular
meetings, the Bale (pavilion) is where the local gamelan orchestras and drama
groups practice. Each stage of Balinese life is marked by a series of ceremonies and rituals known as Manusa Yadnya. They contribute to the rich, varied and active life the average Balinese leads.
Birth
The first ceremony of Balinese life takes place even before birth. Another ceremony takes place soon after the birth, during which the afterbirth is buried with appropriate offerings. The first major ceremony takes place halfway through the baby's first Balinese year of 210 days.
Names
Basically the Balinese only have four first names. The first child is Wayan or Putu, the second child is Made or Kadek, the third is Nyoman or Komang and the fourth is Ketut. The fifth, sixth, seventh, eighth and ninth will be another Wayan, Made, Nyoman, Ketut and Wayan again.
Childhood
The Balinese certainly love children and they have plenty of them to prove it. Coping with a large family is made much easier by the policy of putting younger children in the care of older ones. After the ceremonies of babyhood come ceremonies marking the stages of childhood and puberty, including the important tooth-filing ceremony.
Marriage
Every Balinese expects to marry and raise a family, and marriage takes places at a comparatively young age. Marriages are not, in general, arranged as they are in many other Asian communities although strict rules apply to marriages between the castes. There are two basic forms of marriage in Bali - mapadik and ngorod. The respectable form, in which the family of the man visit the family of the woman and politely propose that the marriage take place, is mapadik. The Balinese, however, like their fun and often prefer marriage by elopement (ngorod) as the most exciting option. Of course, the Balinese are also a practical people so nobody is too surprised when the young man spirits away his bride-to-be, even if she loudly protests about being kidnapped. The couple go into hiding and somehow the girl's parents, no matter how assiduously they search, never manage to find her. Eventually the couple re-emerge, announce that it is too late to stop them now, the marriage is officially recognized and everybody has had a lot of fun and games. Marriage by elopement has another advantage apart from being exciting and mildly heroic it's cheaper.
The Household
There are many modern Balinese houses, but there are still a great number of traditional Balinese homes. The streets of Ubud; nearly every house will follow the same traditional walled design.
Men & Women
There are certain tasks clearly to be handled by women, and others reserved for men. Social life in Bali is relatively free and easy. In Balinese leisure activities the roles are also sex differentiated. Both men and women dance but only men play the gamelan. Today you do see some women painters, sculptors, and woodcarvers.
Community Life
Balinese have an amazingly active and organized village life. You simply cannot be a faceless nonentity in Bali. You can't help but get to know your neighbors as your life is so entwined and interrelated with theirs.
Death & Cremation
There are ceremonies for every stage of Balinese life but often the last ceremony-cremation-is the biggest. A Balinese cremation can be an amazing, spectacular, colorful, noisy and exciting event. In fact it often takes so long to organize a cremation that years have passed since the death. During that time the body is temporarily buried. Of course an auspicious day must be chosen for the cremation and since a big cremation can be very expensive business many less wealthy people may take the opportunity of joining in at a larger cremation and sending their own dead on their way at the same time. Brahmans, however, must be cremated immediately. Apart from being yet another occasion for Balinese noise and confusion it's a fine opportunity to observe the incredible energy the Balinese put into creating real works of art which are totally ephemeral. A lot more than a body gets burnt at the cremation. The body is carried from the burial ground (or from the deceased's home if it's an 'immediate' cremation) to the cremation ground in a high, multi-tiered tower made of bamboo, paper, string, tinsel, silk, cloth, mirrors, flowers and anything else bright and colorful you can think of. The tower is carried on the shoulders of a group of men, the size of the group depending on the importance of the deceased and hence the size of the tower. The funeral of a former rajah high priest may require hundreds of men to tote the tower.
A long the way to the cremation ground certain precautions must be taken to ensure that the deceased's spirit does not find its way back home. Loose spirits around the house can be a real nuisance. To ensure this doesn't happen requires getting the spirits confused as to their whereabouts, which you do by shaking the tower, running it around in circles, spinning it around, throwing water at it, generally making the trip to the cremation ground anything but a stately funeral crawl. Meanwhile, there's likely to be a priest halfway up to tower, hanging on grimly as it sways back and forth, and doing his best to soak bystanders with holy water. A gamelan sprints along behind, providing a suitably exciting musical accompaniment. Camera-toting tourists get all but run down and once again the Balinese prove that ceremonies and religion are there to be enjoyed. At the cremation ground the body is transferred to a funeral sarcophagus, this should be in the shape of a bull for a Brahmana, a winged lion for a Satria and a sort of elephant-fish for a Sudra. These days, however, almost anybody from the higher castes will use a bull. Finally up it all goes in flames funeral tower, sarcophagus, body, the lot. The eldest son does his duty by poking through the ashes to ensure that there are no bits of body left unburned. And where does your soul go after your cremation? Why, to a heaven which is just like Bali!
RELIGION
The Balinese are Hindu yet their religion is very different from that of the Indian variety. They do have a caste system, but there are no untouchables and occupation is not governed by caste. In fact, the only thing that reflects the caste system is the language which has three tiers; 95% of all the Balinese are Hindu Dharma, and speak Low or Everyday Balinese with each other; Middle Balinese is used for talking to strangers, at formal occasions or to people of the higher Ksatriya caste; High Balinese is used when talking to the highest class, the Brahmana, or to a pedanda (priest). It may sound complicated, but most of the words at the low and medium levels are the same, whereas High Balinese is a mixture of Middle Balinese and Kawi, the ancient Javanese language.
The Balinese worship the Hindu trinity Brahma, Shiva and Vishnu, who are seen as manifestations of the Supreme God Sanghyang Widhi. Other Indian gods like Ganesha (the elephant-headed god) also often appear, but more commonly, one will see shrines to the many gods and spirits that are uniquely Balinese. Balinese believe strongly in magic and the power of spirits and much of their religion is based upon this. They believe that good spirits dwell in the mountains and that the seas are home to demons and ogres. Most villages have at least three main temples; one, the Pura Puseh or 'temple of origin', faces the mountains and is dedicated to the village founders, another, the Pura Desa or village temple, is normally found in the centre and is dedicated to the welfare of the village, the last, the Pura Dalem, is aligned with the sea and is dedicated to the spirits of the dead. Aside from these 'village' temples, almost every house has its own shrine and you can also find monuments dedicated to the spirits of agriculture, art and all other aspects of life. Some temples, Pura Besakih for example, on the slopes of Mount Agung, are considered especially important and people from all over Bali travel to worship there.
Offerings play a significant role in Balinese life as they appease the spirits and thus bring prosperity and good health to the family. Every day small offering trays (canang sari) containing symbolic food, flowers, cigarettes and money, are placed on shrines, in temples, outside houses and shops, and even at dangerous crossroads.
Festivals are another great occasion for appeasing the gods. The women bear huge, beautifully arranged, pyramids of food, fruit and flowers on their heads while the men might conduct a blood sacrifice through a cockfight. There are traditional dances and music and the gods are invited to come down to join in the festivities. The festivals are usually very exciting occasions and well worth observing, if you are in the area. A crucial thing to remember, if you wish to join in celebrations or enter a temple, is that there are a number of rules that have to be respected. Please see back page "A Word of Advice" for Rules.
Balinese Culture
Balinese culture is a unique combination of spirituality, religion, tradition and art. Religion is considered to be art and it seems that almost every Balinese is a devoted artist, spending 'free time' applying skills and images which have been passed down from generation to generation and grasped from a very young age. Expressed through beautiful and intricate paintings, extraordinary carvings, superb weaving, and even in rice decorations that cover the myriad shrines found in public areas, in paddy fields or in homes, the island is alive with art and religious homage.
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