Bali travel tour

BALI Art and Culture

A. The DANCES :

The lifestyles of Balinese people is expressed in their dance. Not only do we learn about the Balinese religion from their dance creations but also we can come to understand the flow of cultural events and activities that belong to everyday life. We can discover Balinese attitudes, how they look at nature, and how they regard their fauna and flora.The very essence of the Balinese culture is dance and drama, which is perfo rmed 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.

v 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.

v 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.

v 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.

v 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.

v 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.

v 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.

v 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.

v 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.

v 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.

v Calonarang - a spectacular dance which is a tale of combating dark magic and exorcising the evil spirits aligned with the witch-queen Rangda. The story has many variations and rarely are two Calonarang plays the same. If you can find an authentic Calonarang perofrmance, then you are in for a truly magical experience.

B. Art of Bali

Paintings of Bali have experienced remarkable evolution. Traditionally another means of expressing religious and mythological ideas, paintings of Bali have been subjected to a number of influences, including deep interaction with Western painters who came and lived in Bali. As with any other artistic expression found in the island, these influences have been uniquely adapted into Bali's personality, creating new nuances and styles of paintings that are distinctly Balinese.

The Batik of Bali provides another venue of showing the artistic excellence of the Balinese people. Their beautiful designs, inspired by religious mythologies to everyday encounters, spread throughout the world. Originally stimulated by Javanese motifs, dominated by wayang and other mythological characters, contemporary batik artists have also experienced artistic development that parallels that of paintings. Modern batik artists express themselves through various subjects, from objects of nature such as birds or fish t o daily activities such as cremation (ngaben) procession or tourist attractions as well as religious and mythological stories, accompanied by modern interpretation.

The Ikat and Double Ikat are two amazing techniques that the Balinese have perfected. A piece of Ikat cloth is woven in such a way that the ink is 'tied' (which is what 'ikat' literally translates to) in one of the two threads. A Double Ikat recursively repeats this technique; both threads contain ink. The ink will bleed to its neihboring area, and the result is a piece of cloth with distinctive, subtle patterns.

The village of Tenganan is well known for its superb double ikat work. A good piece of double ikat may take months to complete, and it usually belongs to the family heirloom. Certain patterns, such as the black and white, checkered, double ikat are considered to have protective powers against the evil spirits. Thus, they are used a lot to cover or to dress statues that guard the entrance to a temple or sacred masks like Barong.

NGABEN Cremation

Ngaben or the Cremation Ceremony is the ritual performed to send the dead through the transition to his next life. The village Kul Kul, hanging in the tower of the village temple, will sound a certain beat to announce the departure of the deceased. The body of the deceased will be placed at Bale Delod, as if he were sleeping, and the family will continue to treat him as if he were still alive yet sleeping. No tears are shed, for he is only gone temporarily and he will reincarnate into the family.

The Priest consults the Dewasa to determine the proper day for the ceremony. On the day of the ceremony, the body of the deceased is placed inside a coffin which is then placed inside a sarcophagus in the form of a buffalo (called Lembu) or a temple structure called Wadah made of paper and light wood. The Wadah will be carried to the village cremation site in a procession. The climax of Ngaben is the burning of the Wadah, using fire original.

WEDDING Ceremony
The Balinese marriage, locally is better known as Masakapan, is held on an auspicious day selected by the priest. Invitations are sent out asking guest to bring certain types and amounts of food. The bridge and groom use to have their teeth filed during the ceremony if this had not already been done. While the bridge is being prepared for the marriage rite, men-arranged according to status-sit, eat and chew betel nut while being entertained by professional storyteller. The rite varies from area, but usually the bridge and groom offer food and drink to one another, and then eat together in public, an important symbolic act because in the past only married men and women are allowed to be seen eating food together. In the afternoon the priest performs a ritual purification and blesses the couple.

4. The Balinese special day

Every religion or culture all over the world has their own way to define and celebrate their new year. For example, the Chinese have the Imlek year and to celebrate it, have, as they called it in their own language, "Gong Xi Fat Choy". The Moslem societies have their Muharam year, and any of the people over the world using the Gregorian calendar, celebrate the New Year on January 1st.

The same thing also occurs in Bali, however the Balinese use many different calendar systems. They have adopted the Gregorian calendar for business and government purposes. But for the endless procession of holy days, temple anniversaries, celebrations, sacred dances, building houses, wedding ceremonies, death and cremation processes and other activities that define Balinese life, they have two calendar systems. The first is the Pawukon (from the word Wuku which means week) and Sasih (which is means month). Wuku consists of 30 items starting from Sinta, the first Wuku and end up with the Watugunung the last one. The Pawukon, a 210-day ritual calendar brought over from Java in the 14th century, is a complex cycle of numerological conjunctions that provides the basic schedule for ritual activities on Bali. Sasih, a parallel system of Indian origin, is a twelve month lunar calendar that starts with the vernal equinox and is equally important in determining when to pay respect to the Gods.

Westerners open the New Year in revelry, however, in contrast, the Balinese open their New Year in silence. This is called Nyepi Day, the Balinese day of Silence, which falls on the day following the dark moon of the spring equinox, and opens a new year of the Saka Hindu era which began in 78 A.D.

1. Nyepi

is a day to make and keep the balance of nature. It is based on the story of when King Kaniska I of India was chosen in 78 A.D. The King was famous for his wisdom and tolerance for the Hinduism and Buddhism societies. In that age, Aji Saka did Dharma Yatra (the missionary tour to promote and spread Hinduism) to Indonesia and introduce the Saka year.

The lead upto Nyepi day is as follows:

Ø Melasti or Mekiyis or Melis (three days before Nyepi)
Melasti is meant to clean the pratima or arca or pralingga (statue), with symbols that help to concentrate the mind in order to become closer to God. The ceremony is aimed to clean all nature and its content, and also to take the Amerta (the source for eternal life) from the ocean or other water resources (ie lake, river, etc). Three days before Nyepi, all the effigies of the Gods from all the village temples are taken to the river in long and colourful ceremonies. There, they have are bathed by the Neptune of the Balinese Lord, the God Baruna, before being taken back home to their shrines.

Ø Tawur Kesanga (the day before Nyepi)
Exactly one day before Nyepi, all villages in Bali hold a large exorcism ceremony at the main village cross road, the meeting place of demons. They usually make Ogoh-ogoh (the fantastic monsters or evil spirits or the Butha Kala made of bamboo) for carnival purposes. The Ogoh-ogoh monsters symbolize the evil spirits surrounding our environment which have to be got rid of from our lives . The carnivals themselves are held all over Bali following sunset. Bleganjur, a Balinese gamelan music accompanies the procession. Some are giants taken from classical Balinese lore. All have fangs, bulging eyes and scary hair and are illuminated by torches.The procession is usually organised by the Seka Teruna, the youth organisation of Banjar. When Ogoh-ogoh is being played by the Seka Teruna, everyone enjoys the carnival. In order to make a harmonic relation between human being and God, human and human, and human and their environments, Tawur Kesanga is performed in every level of society, from the people's house. In the evening, the Hindus celebrating Ngerupuk, start making noises and light burning torches and set fire to the Ogoh-ogoh in order to get the Bhuta Kala, evil spirits, out of our lives.

Ø Nyepi
On Nyepi day itself, every street is quiet - there are nobody doing their normal daily activities. There is usually Pecalangs (traditional Balinese security man) who controls and checks for street security. Pecalang wear a black uniform and a Udeng or Destar (a Balinese traditional "hat" that is usually used in ceremony). The Pecalangs main task is not only to control the security of the street but also to stop any activities that disturb Nyepi. No traffic is allowed, not only cars but also people, who have to stay in their own houses. Light is kept to a minimum or not at all, the radio or TV is turned down and, of course, no one works. Even love making, this ultimate activity of all leisure times, is not supposed to take place, nor even attempted. The whole day is simply filled with the barking of a few dogs, the shrill of insect and is a simple long quiet day in the calendar of this otherwise hectic island. On Nyepi the world expected to be clean and everything starts anew, with Man showing his symbolic control over himself and the "force" of the World, hence the mandatory religious control.

Ø Ngembak Geni (the day after Nyepi)
Ngembak is the day when Catur Berata Penyepian is over and Hindus societies usually visit to forgive each other and doing the Dharma Canthi. Dharma Canthi are activities of reading Sloka, Kekidung, Kekawin, etc.(ancient scripts containing songs and lyrics).

From the religious and philosophy point of view, Nyepi is meant to be a day of self introspection to decide on values, eg humanity, love, patience, kindness, etc., that should kept forever. Balinese Hindus have many kind of celebrations (some sacred days) but Nyepi is, perhaps the most important of the island's religious days and the prohibitions are taken seriously, particularly in villages outside of Bali's southern tourist belt. Hotels are exempt from Nyepi's rigorous practices but streets outside will be closed to both pedestrians and vehicles (except for airport shuttles or emergency vehicles) and village wardens (Pecalang) will be posted to keep people off the beach. So wherever you happen to be staying on Nyepi Day in Bali, this will be a good day to spend indoors. Indeed Nyepi day has made Bali a unique island.

2. Saraswati Day

Knowledge is very important for Balinese. Every Saniscara, Umanis, Wuku Watugunung, they celebrate Saraswati Day, the knowledge day. It is based on the Pawukon (Balinese calendar) system and the Saniscara (seven day cycle).

The name Saraswati came from "Saras" meaning flow and "wati" meaning a women. So, Saraswati is symbol of knowledge, its flow (or growth) is like a river and knowledge is very interesting, like a beautiful women.

Saraswati is the Goddess of Knowledge, symbolized by a beautiful woman with four hands, riding on a white swan among water lilies to tell humanity that science is like a beautiful woman. Her hands hold a palm leaf; a lontar, (a Balinese traditional book which is the source of science or knowledge); a chain (genitri with 108 pieces) symbolising that knowledge is never ending and has an everlasting life cycle; and a musical instrument (guitar or wina) symbolising that science develops through the growth of culture. The swans symbolise prudence, so that one's knowledge may distinguish between good and evil and the water lilies (Lotus) are symbols of holiness. The Lotus flower is the holiest for Balinese.

In the afternoon of Saraswati day we are not permitted to read or write the book because all the books are offered. In the evening, called Malam Sastra, people read books (especially religious books) in their houses or in the temple.
Saraswati day itself is celebrated by the Balinese people bringing offerings to their holy books and scrolls in their houses, while students celebrate it at school, usually in the morning, and the office-workers in their office. The philosophy of Saraswati day is that the most important thing for human life is knowledge.

3. Banyu Pinaruh

The day after Saraswati Day is Banyu Pinaruh day. "Banyu" means water and "Pinaruh" mean wisdom. In other words, we must have wisdom which always flows like water and which is useful for human kind. We pray for Dewi Saraswati (manifestation of God) to give us cleverness and wisdom. The people usually take a bath in the sea or a lake or river and drink traditional medicine which is made from many various leaves which is very good for our health. The philosophy of Banyu Pinaruh day is the second most important thing for human life is good health.

4. Soma Ribek
Two days after Saraswati Day, on Soma (or Monday), Pon, Wuku Sinta, is Soma Ribek day. "Soma" meaning Monday, and "Ribek" meaning full. On this day, Balinese bring offerings to the rice box. They thank God for food and beverage in their lives and pray to Dewi Sri (Goddess of prosperity, manifestation of God) to give prosperity. This celebration remind them to be selective when choosing food and not to over eat to improve their health. The philosophy of Soma Ribek day is the third most important thing for human life is food and drink.

5. Sabuh Mas
Three days after Saraswati Day, on Anggara (or Tuesday), Wage, Wuku Sinta, is Sabuh Mas day. "Sabuh" means belt, and "Mas" mean gold. On this day, Balinese bring offerings to the deposit box or the place where they keep their jewelry. They thank Mahadewa (manifestation of God) for cloth, money, gold, etc in our lives.

6. Pagerwesi
Four days after Saraswati Day, on Buda (or Wednesday), Kliwon, Wuku Sinta, is Pagerwesi day. "Pager" meaning fence and "Wesi" meaning iron. On this day, Balinese pray to Sang Hyang Pramesti Guru (manifestation of God). All Balinese have offerings to their Sanggah (temple in their home) and at all of their temples. This is the second biggest holiday after Galungan day for the Balinese. The philosophy of this celebration is that they must keep knowledge, health, food, cloth and gold high in their lives to keep the universe in balance.

7. Galungan is a ten day festival which comes around every 210 days and celebrates the death of the tyrant Mayadenawa. Gods and ancestors visit earth and are greeted with gift-laden bamboo poles called penjor lining the streets. The last day of the festival is known as Kuningan.