Ngaben

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 originating from a holy source. The deceased is sent to his afterlife, to be reincarnated in the future.

Galungan and Kuningan

If you happen to visit Bali ahead of Galungan Days, you'll discover that most temples are attractively decorated, dressed up with batik and white or yellow cloths wrapped around their individual shrines. The streets are lined with Penjor, an offering suspended from tall, curved bamboo pool with decorations. The arch represents Mt. Agung, the body is river that flows from the mountains to the sea, and along its route are the products of the harvest, tied to the pole; at the foot of the pole is a temporary shrine. The Balinese Hindus use the Saka lunar calendar and the 210-day Pawukon calendar. Each of 30 seven-day weeks in one Pawukon cycle has unique name. The ten days between Wednesday of Dunggulan, the 11th week, and Saturday of Kuningan, the 12th week, are a period called Galungan or Galungan Days, starting on the Galungan and ending on the day Kuningan.

Galungan Days are the important religious celebrations for Balinese Hindus. The Galungan festivity marks the victory of dharma (order) over adharma (disorder). According to the local legend, centuries ago, Bali came to be ruled by a cruel, godless tyrant named Mayadenawa, who banned religious festival, tore down temples and punished anyone caught worshipping their Hindu gods. While he reigned, pestilence and famine raged across the island. The crops withered, rivers turned dry and people grew sick. Indra, god of storms and war, heard the island's prayers and came to earth with a great army to destroy Mayadenawa. Following the terrible battles, the evil king was killed in the hills of Gianyar. He died on Rebo (Wednesday) of the 11th week of Pawukon calendar. Mayadenawa symbolizes the adharma and the day of his killing marks the victory of dharma over adharma. The Balinese Hindus express this victory with prayers, the feast, offerings and also the get-togetherness.

Aside than that, the Balinese Hindus believe the defied ancestors of the family descend to their former homes during Galungan. These defied must be entertained, and welcomed with prayers and offerings. Families with deceased relatives who are buried and have not yet been cremated-thus not yet deified-must make offerings at the graves. The visit of these ancestors is expected to last until Kuningan.

In the Gregorian calendar system, this year, Galungan Day occurs on April 24. However, from six days before the celebration people are busy preparing the festivity. Started on April 18, 2002, six days before the main celebration, called Sugian Jawa, is a special day to put the special offerings mainly in family temples for Gods and Goddesses, as the manifestation of the Almighty, while saving a prayer to purify ourselves. On the next day, called Sugian Bali, the same ritual activities with the preceding day are held.

On the Sunday before Galungan called Penyekeban, from sekeb, 'to cover up,' green bananas are sealed in huge clay pots upon which a small coconut husk fire burns. Lots of bananas are required for Galungan offerings, and this treatment ripens them quickly. This day is also believed as the day when Sang Kala Tiga (invisible disturber) is coming down the earth to seduce people to do bad things. Until the Galungan day comes, it is believed that Sang Kala Tiga is around us, so people should alert themselves by doing many good things and ritual to cast away the devil.

The next day, Penyajaan, is devoted to making the many colored cakes of fried rice dough, jaja. This jaja is used to make offerings.

On the day before Galungan, called Penampahan - from nampah meaning to slaughter an animal-pigs or turtles are killed for the traditional Galungan morning feasts. Featured in this feast includes babi guling (roasted pig), traditional lawar (a spicy hash of mixed vegetables teamed with meat and often fresh pig's blood).

Penampahan also symbolizes the slaughter of the bad things that represented by the slaughtered animals' bad behaviors. This, is definitely the ultimate defeat over disorder. Penjor, the bamboo pole that beautifully decorated with young coconut leaves and other things, is also erected to welcome the victory day.

Galungan day is a time for prayer, family get-together and offering. People pray at the family temples and some other temples. Usually people who live in town go to the hometown to visit their elders.

The day after Galungan-called Manis Galungan-is a time for visiting friends and relatives and the roads are usually packed with cars and motorcycles. Kuningan marks the end of Galungan celebration. It takes place on the Saturday of the 12th week of the Pawukon cycle, ten days after Galungan. Kuningan-which comes from the word for kuning (yellow), because the turmeric in rice offerings gives them this color. Galungan is all-island festivals. The preparations in the villages are obviously seen. Everybody gets to work, decorating the temple, making offerings and penjor as well. Galungan is a worth seeing festival.

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.

• Pangredanan (the day before Saraswati)
  This is the day of preparation. All the books and lontar are collected together, cleaned and dusted.
• Saraswati Day
  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.
• 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.
• 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.
• 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. This celebration remind them to be selective when spending money. The philosophy of Sabuh Mas day is the fourth most important thing for human life is cloth and gold, etc.
• 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.

NYEPI

Bali's Day of Silence

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.

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:

• 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.
• 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.
• 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.
• 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.

Temple Festivals

Temple festivals are commonplace. Each village will hold some sort of colourful ceremony for each one of its own temples a couple of times a year. Add to this the rituals and celebrations for each persons' passage from birth, puberty, marriage, childbirth to death and the after-world, and include the major island-wide celebrations like Galungan, Kuningan and Nyepi; the day of silence when the whole island closes down in fear of evil spirits flying in from the sea, and you can begin to understand how important religion in Bali is.

Nyepi
Galungan and Kuningan
Saraswati Day

Balinese Religious Life

95% of all Balinese are Hindu Dharma. Hindu Dharma is the combination of Hinduism and Buddhism to achieve the peace and harmony of life. They believe in God called Ida Sang Hyang Widdhi Wasa, manifested onto three sacred forms called: Trisakti; consists of:

• Brahma The Creator
• Shiwa The Transformer
• Wisnu The Preserver

Worship God is the inseparable religious activities in daily life. Unending series of ceremonies that begin from birth up to after death.

There are three spiritual guidances in Balinese social life based on Hindu, consist of: Tattwa (philosophy), Susila (ethic or moral codes), Upacara (rituals).

SUSILA
Susila is moral codes or ethic emphasized on three behaviors, e.g.:

• Positive thinking.
• Positive talking.
• Positive action (behave).

known as Trikaya Parisuda. Related to those moral codes it is also mentioned Tat Twam Asi, freely translated into "I am you" or "You are me", which controls and prevents intentional bad behaviors. If someone disable these moral codes, he will get a social punishment that he will be ignored or underestimated by the society.

TATTWA
Tattwa tells about Panca Crada, the five principles belief or Cradas which are belief in the existence of:

• Brahman: belief in The One and Supreme God or in Hindu Balinese known as Ida Sang Hyang Widdhi Wasa.
  A lot of temples was built to dedicate The God, Brahman, the ancestors, and the soul of the died relatives.
• Atman: The Soul.
  
• Samsara: Reincarnation.
  Having birth is one of the accesses to reincarnation of the soul. There are spiritual rules for birth control.
• Karma: The law of cause and effect.
  A belief that if we treat someone badly; then soon or later we will get the revenge.
• Moksha: Unity with God (Nirvana).
  A belief that positive behavior in daily life will guide the soul to the God head after a few times reincarnations.

UPACARA (RITES)
Upacara are religious ceremonies classified into five classifications:

• Dewa Yadnya: Rites related to worship God, gods, mainly temple festivals.
• Rsi Yadnya: Rites related to prophet, priest or priesthood.
• Pitra Yadnya: Rites related to the death.
• Manusa Yadnya: Rites related to social human beings.
• Buta Yadnya: Sacrifices to placate the negative or demonic forces (Butas).

These classifications determined in periodically such as semi annual or annual temple festivals, ordination rites, life cycle rites, funeral and cremation rites.

There are three prosperity guidance in the form of harmony relationship between:

• People and God.
  Performed in religious behaviors and rituals that the people make offerings to God.
• People and People.
  Performed in the traditional laws in written or unwritten.
• People and Environment.
  Performed in common ritual traditions in respect to the nature and environment guided from Balinese calendar. They believe in good days and bad days, described in these following details:
  • Tumpek days: the days of worship and respect (good days).
  • Tumpek Uduh: the days to respect and make offerings to trees.
  • Tumpek Kandang: the days to respect and make offerings to animals.
  • Tumpek Landep: the days to respect and make offerings to objects or materials and also metal things such as motor bikes, cars, music instruments, etc.
  • Tumpek Wayang: the days to respect and make offerings to the human food sources.
  • Ingkel days: environment taboo weeks come in turns yearly:
  • Ingkel wong: taboo in disrespect other peoples.
  • Ingkel sato: taboo in disrespect animals.
  • Ingkel mina: taboo in disrespect fishes.
  • Ingkel manuk: taboo in disrespect birds.
  • Ingkel taru: taboo in disrespect trees.
  • Ingkel buku: taboo in disrespect bamboo and sugar canes.

The individual who properly implements those philosophies in his daily life, will make him religious, respect to other peoples and his environment. This is to achieve the balance in spiritual and material, eternal release and Moksha the ultimate goal.
Samsara is a failure to achieve the Moksha, that the soul is still bound to the chain of incarnation.

Balinese Social Life

Mostly Balinese peoples live in the sector of agriculture; supported by the fertile lands. Beside that they also have valuable abilities as their natural talents such as stone or wood carver, painter, dancer, craft-person and artist. These hereditary talents have become their live tradition as part of their religion. The peoples who live in tourism locations or down-towns prefer to work in the tourism or hospitality industry; these fields give more earnings rather than other businesses.

CASTE
There are four castes in Balinese society:

• Brahmana
  The highest caste in Hindu Balinese. The members are priests or scholars.
• Ksatrya
  The members are warriors and everybody who have nobility power.
• Weisya
  Mostly the members are merchants.
• Sudra
  The lowest caste. Members are farmers and laborers, who are the original Balinese society.

Intermarriage between castes; A lady is prohibited from marrying a man of a lower caste; but romance could be happened to everybody.

BANJAR
The peoples live in villages. A family is the basic unit of Balinese society. A society of families who live in neighborhood in a village called a Banjar. In each Banjar is a Banjar hall in which the members meet each others and where a lot of activities take place. A village could be managed by some integrated Banjar, this village called Desa Adat.

DESA ADAT
Desa means village and Adat means traditional ethic, recognized with the existance of Pura Desah. To organize and maintain their village, they usually have a routine meeting in a public pavilion, attended by families heads. Decision made by voting and integrated decision. Very often things have to be done in the "Gotong Royong" way, that means join labor for the purpose of all without payment.

SUBAK
A Subak is an organization of farmers. This organization controls and manages village life, rice fields and irrigation in particular. Each Banjar has one or more Subak. It is also possible that members of different small Banjars are members of one Subak. The Pekaseh, the head of the Subak is chosen by the members for a certain time. Banjar and Subak are one of the guarantees that Bali remains Bali in spite of all the foreign influences with which the island is confronted. Another guarantee is Bali Hinduism that enables the Balinese people to remain who they are and always have been. This makes Bali unique.

Paintings 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. Instead of religious or mythical characters of wayang, contemporary paintings present nature, daily lives of Balinese, or even tourists. The shades of coal gray that dominate traditional paintings are now accompanied by vibrant play of color capturing Jalak Bali or Gunung Agung in the morning sun.

The Raja of Ubud was known for his fondness of arts and paintings, and his openness to foreigners. Thus Ubud became the center of arts, welcoming into its heart renowned artists such as Bonnet, Spies, Blanco, Snel, et., many of whom came and never could leave Bali. Today's Ubud is only slightly different. You should not be surprised to run into a foreign writer who has spent months living in a homestay facing a rice field terrace while writing his next book. Fabulous museums of paintings such as the Puri Museum Lukisan, the Neka Museum, and the Rudana Museum have in their permanent collections some of the best paintings ever produced by Balinese or foreigners who found their physical and artistic home in Bali.

Dance and Drama

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 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.

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.

Sekala and Niskala

Balinese culture is a complex event characterised by diversity and adaptability. A central dictum in Balinese thinking is the concept of Desa - Kala - Patra, (time, place and situation), a dynamic notion holding that traditional thinking will blend in harmony with the new. The Balinese distinguish between Sekala, the material, and Niskala the eternal. Reality is a coincidence of the material and the eternal realms. One does not exist without the other. The world, therefore, is the product of the interaction of Sekala and Niskala.

To explore more about Balinese Culture, please read the following :

Dance and Drama

Painting of Bali

Balinese Social Life

Balinese Religious Life

Ngaben

Nightlife in Bali

Night life in Bali starts late, which means around midnight. Many visitors wonder where crowds of expats suddenly come from around 1:00 in the morning – even when all of Kuta has been very quiet during the whole evening, the IN-places often become crowded after midnight.

There's a simple explanation: during the early evenings many of Bali's night owls either still work, visit friends at home, or simply sleep. Most of them visit pubs, bars, or discos only in the early morning hours. Therefore, if you plan a night out don't start your dinner too early. Between 9:00 p.m. and midnight there are not many places we can recommend.

Visitors looking for company don't need to worry. Wherever you go in Sanur and the Kuta area, there are many other single travellers with the same problem around – day and night. In Bali's discos you'll meet also many "kupu kupu malams" ("night butterflies" or working girls) and young boys who compete with the females and service all sexes. All taxi drivers know the more popular karaoke bars and massage parlours in Kuta and Denpasar, and the various "Houses of ill Repute" in Sanur's narrow back lanes.

Prostitution is illegal in Bali. However, like in many countries, everyone turns a blind eye. Many girls can be found in nightclubs and bars in most areas. They look usually just like the girl next door, albeit with a bit more make up on, and they usually dress to please the eye. For the most part, they are gentle, easy to be with, and a lot of fun if you want to dance, drink and have a little fun with. Most will be yours for the whole night for about 500,000 Rupiah although prices range from 200,000 Rupiah to 1,500,000 Rupiah and more – depending on the season, the time of night and the situation".

SANUR & NUSA DUA

Some quite popular places in Sanur are the BORNEO PUB on Jalan Danau Tamblingan and the TROPHY PUB in front of the Sanur Beach Hotel. Both, however, close around 1:00 a.m.

The discos and pubs in Nusa Dua's 5-star hotels are often rather empty. They are mostly frequented by those visitors who stay in-house and are too tired to make the 30 minutes drive to Kuta.

THE "KUTA" AREA

Everybody looking for some action and fun in the evening goes to "Kuta" which nowadays means the area extending about 4 miles or 7 kilometers North from the original village of Kuta and includes now Legian, Seminyak and even Basangkasa. Here are most of the better entertainment places offering EVERYTHING single male or female visitors as well as couples might be looking for.

There are several places such as CASABLANCA etc. – down-market open-air pubs and very noisy discos full of stoned Aussies courting Javanese "Kupu Kupu Malams". PEANUTS Discotheque on Jalan Raya Legian at the Jalan Melasti corner (about the border between Kuta and Legian) has been re-opened very soon after it was gutted by a fire. The huge (air-conditioned) dance floor is often crowded, guests are a mix of locals and younger foreign visitors.

Closer to the center of Kuta you find the BOUNTY SHIP with a noisy, over-air-conditioned disco in the basement and the re-built PADDY'S not far from the original PADDY'S. Much more "IN" nowadays is the newer M-BAR-GO which features really good music and a better crowd than most other places. SKY GARDEN is also on the main road and an interesting place to go. The bar is on the top floor, the three storeys below feature all different lounge areas. The menu is huge but the food is often disappointing. When most places close around 2.00 or 3.00 in the morning, night owls of all kinds continue drinking at nearby MAMA'S until sunrise.

For a somewhat more civilized evening out, you can have dinner and a couple of drinks at the bar at either TJ's or KORI in Kuta, at the open street side bar at NERO Bali right opposite AROMAS Restaurant in Kuta, at the re-built MACCARONI CLUB in Kuta, at MADE'S WARUNG in Basangkasa, or at the trendy HU'U Bar & Lounge near the Petitenget temple, LA LUCIOLA and THE LIVING ROOM.

One of the most "in" venues in Bali is KU DE TA right on the beach adjacent to the Oberoi hotel. This is the place to see and be seen, and from late afternoon there is a DJ providing rather noisy entertainment for Bali's beautiful people. This is a great place to watch Bali's famous sunsets, but expect to pay for a cocktail around US$10 and more.

Something more outrageous and only for open-minded people are the HULU CAFE shows in Garlic Lane between Jalan Padma and Jalan Melasti in Kuta/Legian, a place which called itself the "only real gay bar in all of Bali" with drag shows starting at 11:00 p.m. three times per week. The performances are actually kind of funny! Since the original HULU CAFE burnt down in 2008, the shows are now performed at 10 p.m. and 11 p.m. on Thursdays, Fridays and Saturdays at the BALI BEACH SHACK in the same lane

You'll find a large and quite popular HARD ROCK CAFE right at the beginning of Kuta's beach road with live music from 11 p.m. to 2 a.m. Expect to find many singles of all kinds here looking for company. If you think this is too noisy, too crowded, or the air-conditioning too cold for you, try the CENTER STAGE at the HARD ROCK RESORT located in the back of the CAFE. As the name implies, the band performs on a raised stage in the middle of the huge round lobby bar until 11:00 p.m. Both HARD ROCK outlets are expensive by Bali standards.

The JAYA PUB on the main road in Seminyak features also live music and attracts many Indonesian customers who don't mind the chilling air-conditioning and the sometimes horrible bands and singers. MANNEKEPIS, a pleasant Belgian pub/restaurant right opposite the QUEEN'S TANDOOR in Seminyak, features live Jazz on Thurdays, Fridays and Saturdays and serves good meals at reasonable prices.

Seminyak's best place to have a drink and some fun after 11 p.m. are nowadays probably OBSESSION World Music Bar and SANTA FEE Bar & Grill, Jalan Abimanyu (also known as Gado Gado Road or Jalan Dhyana Pura). Life music, reasonably priced cocktails and the friendly girls attract many visitors until the early hours. Other popular night spots nearby in the same street are SPY BAR, LIQUID, Q BAR and MIXWELL ("for the alternative lifestyle"), SPACE and THE GLOBE. New bars and "Chill-Out Lounges" are opening all the time, and most of them feature DJ's and/or live music on certain nights. Just walk down the road and check them out !

Later, from 2:00 a.m., it's party time at the SYNDICATE, BACIO and DOUBLE SIX, a large open-air disco with several bars, big dance floor, and many tables. All three are located next to each other on the beach in Seminyak and charge an entrance fee of 30,000 to 100,000 Rupiah (depending on the day) for which you get a voucher for a free drink. Here and in nearby DEJA VU and LA VITA LOCA you'll find most of Bali's night owls drinking and dancing the night away until 4:30 a.m. or so. (The legendary GADO GADO Disco has been re-converted into a restaurant.)

Also, watch out for notices and small posters in Kuta and Seminyak announcing special events such as Full Moon Parties, House Warming Parties, Body Painting Parties, etc, etc. If these "parties" are announced to the public (even if only by word-of-mouth), they are open for everybody. You'll have to pay for your drinks, therefore, don't be shy.

UBUD

Don't expect too much here. We are not Ubud nightlife experts, but names frequently mentioned include PUTRA BAR, Jl. Monkey Forest (every night live music ranging from Reggae to rock), MAGIC BAR, Jl. Monkey Forest (live music and sometimes great atmosphere), JAZZ CAFE, Jl. Tebesaya (live music and jam sessions on different nights), EXILE BAR (Saturday nights only, great music), and FUNKY MONKEY (early hours cafe).

Have fun!

Nusa Lembongan

The most developed island for tourism is the delightfully laid-back Nusa Lembongan, which is free of cars, motorcycle noise and hassles. It has a local population of about 7000 people, mostly living in two small villages, Jungutbatu and Lembongan. Tourism money means that the power now stays on around the clock.

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Lovina

Lovina manages to exude a sedate charm even as the number of hotels and other tourist places grows. Almost merging into Singaraja to the west, the town is really a string of coastal villages – Pemaron, Tukad Mungga, Anturan, Kalibukbuk, Kaliasem and Temukus – that have taken on this collective name.

Lovina is a convenient base for trips around the north coast or the central mountains. The beaches are made up of washed-out grey and black volcanic sand, and they are mostly clean near the hotel areas, but generally unspectacular. Reefs protect the shore, so the water is usually calm and clear.

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Ubud

Perched on the gentle slopes leading up towards the central mountains, Ubud is the other half of Bali's tourism duopoly. Unlike the south Bali, however, Ubud’s focus remains on the remarkable Balinese culture in its myriad forms.

It’s not surprising that many people come to Ubud for a day or two and end up staying longer, drawn in by the rich culture and many activities. Besides the very popular dance-and-music shows, there are numerous courses on offer that allow you to become fully immersed in Balinese culture.

Sensory pursuits are amply catered to with some of the best food on the island. From fabled world-class resorts to surprisingly comfortable little family-run inns, there is a fine choice of hotels. Many places come complete with their own spas, for hours or days of pampering packages.

Around Ubud are temples, ancient sites and whole villages producing handicrafts (albeit mostly for visitors). Although the growth of Ubud has engulfed several neighbouring villages, leading to an urban sprawl, parts of the surrounding countryside remain unspoiled, with lush rice paddies and towering coconut trees. You’d be remiss if you didn’t walk one or more of the dozens of paths during your stay.

(Source : Lonely Planet website)

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Kuta

Kuta is Bali-in-a-Budget, a raucous, infamous holiday enclave dedicated to fun and sun. A bustling network of narrow lanes lined with bars, losmen (basic accommodation), and stalls piled high with fake surfwear, dodgy DVDs and lurid football shirts, Kuta is all about bacchanalian nights and rampant commerce. Prepare yourself for plenty of attention from the shopkeepers and armies of hawkers that comb the streets here.

Yet a few steps away, Kuta’s raison d’être remains as wonderful as ever, as another set of perfect rollers washes over its magnificent golden sands. And while subtlety is not Kuta’s strength, the resort retains a slice of Balinese charm – incense wafts down the gang and offerings of flower petals are laid out each morning to placate the Hindu gods.

And if you’ve had your fill of Kuta’s frenetic energy, consider shifting just up the coast to the less manic surrounds of Legian or stylish Seminyak with its designer bars and legendary clubbing scene. Both are continuations of the same strip that creeps up the coastline; the further north you get from central Kuta, the less built-up and more exclusive the area becomes. But even in the heart of Seminyak there are a few budget hotels, and some terrific, authentic warung.

(Source : Lonelyplanet website)

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INTRODUCING BALI

Tanah Lot Temple, Located in Tabanan. One of the interesting place to visit in Bali.

Bali may be small in size – you can drive around the entire coast in one long day – but its prominence as a destination is huge, and rightfully so. Ask travellers what Bali means to them and you’ll get as many answers as there are flowers on a frangipani tree. Virescent rice terraces, pulse-pounding surf, enchanting temple ceremonies, mesmerising dance performances and ribbons of beaches are just some of the images people cherish.

Small obviously doesn’t mean limited. The manic whirl of Kuta segues into the luxury of Seminyak. The artistic swirl of Ubud is a counterpoint to misty treks amid the volcanoes. Mellow beach towns like Amed, Lovina and Pemuteran can be found right round the coast and just offshore is the laid-back idyll of Nusa Lembongan.

As you stumble upon the exquisite little offerings left all over the island that materialise as if by magic, you’ll see that the tiny tapestry of colours and textures is a metaphor for Bali itself.

And those are just some of the more obvious qualities. A visit to Bali means that you are in the most visitor-friendly island of Indonesia. There are pleasures of the body, whether a massage on the beach or a hedonistic interlude in a sybaritic spa. Shopping that will put ‘extra bag’ at the top of your list. Food and drink ranging from the freshest local cuisine bursting with the flavours of the markets to food from around the globe, often prepared by chefs and served in restaurants that are world class. From a cold Bintang at sunset to an epic night clubbing in Kuta, your social whirl is limited only by your own fortitude.