Bali Tourism Information Center

Barong Hotel Kuta

2008-07-28T10:17:00.000-07:00

Safe, quiet & convenient, the Barong Hotel is the perfect choice for a great holiday in Bali. Only 300 meters from Bali's surfing beaches and 150 meters from the heart of Kuta's renowned night spots and exciting shopping area, the Barong Hotel couldn't be better located. Definitely one of Bali's favourite value for money hotels for holiday travelers.

For further information please contact :

Jl. Segara Batu Bolong

(old Poppies Lane)
Legian - Kuta 80361
Bali - Indonesia
Phone: (62-361) 751804
Fax: (62-361) 761520
E-mail: info@baronghotel.com

Alam Kulkul Boutique Resort

2008-07-28T09:04:00.000-07:00

AlamKulkul Boutique Resort & Hotel, Bali - a four star Boutique Resort - is the perfect solution for todays's discerning holiday seekers. We surround your with everything you need to make your holiday something you will always remember. AlamKulkul Boutique Resort & Hotel Bali seaside haven is surrounded with the fascination of Bali's exquisite culture and within well design resort we offer a wide range of options for fine international cuisines and personal pampering, set in exquisite tropical gardens.

AlamKulkul Boutique Resort & Hotel Bali reflects the ambience of a charming Balinese village. Tropical gardens surround the thatched roof villas and spacious rooms look out over flower gardens and cascading pools. Antique furniture and local handicrafts tend traditional style to the contemporary facilities and all this just a step or two from the surf, sunsets and shopping of Bali Legian Beach.

Across the road from Kuta beach and handy to some great shopping spots, AlamKulkul Boutique Resort & Hotel Bali is a refreshing, unique and tropical getaway possessing the ambience of a Balinese village. The boutique resort is newly refurbished and looking wonderful with a simple yet stylish entrance and lobby.

For further information please contact :

AlamKulKul Boutique Resort & Hotel

Jalan Pantai Kuta, Legian, Bali - Indonesia
Tel. (62-361) 752520, Fax. (62-361) 766861
E-mail: info@AlamKulKul.com

Map of Bali

2008-07-28T08:58:00.000-07:00

For more detailed maps and hotel locations Click here

Time / Distance Table

	Airport	Kuta	Nusa Dua	Legian	Sanur	Denpasar	Ubud/Mas	Candidasa	Singaraja
Airport	-	5	17	7	20	25	40	85	105
Kuta	0:15	-	15	2	16	10	37	80	100
Nusa Dua	0:20	0:35	-	17	30	23	50	95	115
Legian	0:25	0:15	0:50	-	16	10	37	80	100
Sanur	0:30	0:25	0:45	0:40	-	8	30	70	90
Denpasar	0:50	0:40	0:55	0:25	0:15	-	27	65	85
Ubud/Mas	1:15	1:20	1:20	1:35	0:45	0:45	-	50	70
Candidasa	2:30	2:15	2:30	2:40	1:45	1:30	1:30	-	45
Singaraja	3:00	3:00	3:25	3:15	2:45	2:30	2:15	1:00	-

2:30 = time between locations. 80 = distance in kilometers.

source :
www.balihotels.com

THE PARADISE PARADOX

2008-07-28T08:54:00.000-07:00

Romantic Westerners once sold Balinese culture to the globe. Now locals wonder if their island is becoming a giant theme park

© By Keith Loveard

BIG MACS IN THE macrobiotic hills of Ubud? West Bali National Park handed over to a timber magnate for eco-tourism? Similar rumors of development doom have been flying on Indonesia's fabled island ever since the 1930s, when it was first marketed to the world as paradise on earth. True or not, the latest whispers making the rounds point to an increasingly gnawing worry. More and more Balinese are asking: Is our home being turned into a giant theme park?

Nothing perhaps has stoked fears more that Bali is being Disneyfied than the 40-story (140-meter) statue of the mythical Garuda bird that sculptor I Nyoman Nuarta is creating across from the international airport. Once it is completed in a couple of years, you can be sure tourist brochures will describe it as "The Largest in the World!"

The Garuda statue symbolizes a growing divide on the island. Some see the big bird as an apt metaphor for modern Bali. Governor Ida Bagus Oka, for example, compares it favorably to the Eiffel Tower in Paris. Others, like environmentalist I Made Suarnatha, see the statue as a crass tourist attraction that will cheapen Bali's heritage and send the message that anything goes. "The people of Bali are shocked by the image this will present," says Suarnatha. "But as with all these projects, developers and officials refuse to discuss it. I am tired of trying to talk when the other side doesn't want to."

A recent history of Bali might well be called The Paradise Paradox. Here we have an Asian culture that was sold to the world by Western romantics, a Hindu island in a mostly Muslim archipelago, a tourist destination that is at once commercial and deeply spiritual. While other famous tropical idylls have succumbed to jet-loads of fun-seekers, Bali culture has proved itself remarkably resilient. Nor have the people utterly lost out to the powerful business elites from the neighboring island of Java. Nonetheless, with the government planning to divide the island into 21 tourist zones, locals and tourists alike are wondering yet again whether Bali's photogenic dances and festivals, beaches and rice terraces can survive intact.

Make no mistake, Bali faces serious environmental problems. In the capital Denpasar, drinking water dwindles to a trickle during the day, owing, say conservationists, to the unquenchable thirst of Nusa Dua, the elite resort. The hotel industry's demand for electricity has pushed forward plans for a controversial geothermal power station at Bedugal, a sacred mountain lake. Nor are the beaches immune to the build-it-and-they-will-come philosophy. Sand dredging off the port of Benoa to enlarge an island for yet more hotels has altered the water currents; they are now eating away at the beaches in the old resort area of Sanur. Such developments are supposed to be accompanied by an environmental impact study guaranteeing that the projects are sustainable. "These studies are no more than procedure," says environmentalist Yuyun Ilham. "It doesn't matter how they implement the project. As long as they have the document, it's fine."

There is no debate about the debacle at Candi Dasa, a development on the east coast. Limestone from offshore reefs was used to build the hotels. Oops. With the reefs ground down, the resort beach was left open to the waves. Rather than see their inns slip into the sea, the owners ordered a series of water-breaks that march along the beach like ragged dinosaur teeth. "That was the Balinese people being stupid," says Oka, referring to the development. He denies any current projects are ecologically unsound. "The people are aware that the culture, the people, the beaches are their natural wealth. There is no way they would destroy their environment, though in some cases they may not understand the effects of what they want to do."

In fact, Balinese talk far less about ruined beaches and feeble water pressure than they do about destruction of their way of life, how their culture is being mass-marketed to the world. The government constantly urges the people to smile and make their traditional ceremonies extra lavish to please the visitors, so much so that many communities have run up hefty debts trying to outdo the neighbors. But while they endure modern rituals thrust upon them by a government eager for foreign exchange, the Balinese, as in other famous vacation spots, have a tendency to blame the tourists. Anak Agung Oka is typical in this regard. Agung, 33, is in charge of the community's adat, traditional laws that cover everything from land ownership to relationships. He lives in a village in Legian, now a northerly extension of the tourist tack of Kuta. When skimpily attired tourists venture into town, Agung feels like telling them "not to kill my tradition."

In 1993, Indonesia's Bakrie group unveiled plans to build a resort and golf course at Tanah Lot. Some locals expressed horror that they would be able to see the complex from the nearby temple, one of the holiest on Bali. In a virtually unprecedented display of disenchantment, Hindu priests organized protests. In the end a compromise was worked out. Bakrie moved the hotel back a few hundred meters, though temple-goers can still spy tourists teeing off.

The small victory has been hailed by activists who see in it the seeds of a revolt against the evils of unplanned tourism that is wrecking the environment and undermining Bali's vaunted culture. But the temple protest may have had less to do with religion than jealousy – namely that outsiders (in this case a Jakartan) were making money at the expense of locals. Long before the resort opened, the path to the holy site was lined with ramshackle shops selling souvenirs to tourists watching the sun set over the Indian Ocean. A double standard? Governor Oka says he asked the same thing. "If this is a protest against outsiders," he asks, "what happens if people outside don't like us?"

The governor has a point. Even Balinese who bemoan the paving of their island acknowledge that they have done handsomely by the planeloads of free-spending tourists. Last year, according to official figures, there were 1.16 million direct arrivals, a big advance on the 738,533 who visited four years earlier. That does not take into account the extra one-million-plus foreigners who don't fly direct, not to mention the weekenders from Java. Whatever the exact figures, Bali's economy is moving far faster than the rest of the country. Balinese proudly buzz around on motorscooters. They rarely have to look far for work. And many are downright enthusiastic about tourism.

Priests happily marry non-Hindus such as Mick Jagger and Jerry Hall for cash. Get-rich-quick artists are willing to overlook the adat laws to sell off ancestral land for big bucks. One Balinese entrepreneur runs two hotels, a restaurant and two discos, where locals and tourists alike pop ecstacy to improve their view of paradise. He is making so much cash, his neighbors speculate that Bali has become a money-laundering hub for drug barons. Balinese are increasingly savvy when it comes to their birthright: most developments are on land that is leased for 30 years. Hence, the hotels, restaurants and homes that smother much of southern Bali will revert to the Balinese.

That has not stopped the griping, of course. Balinese say the Javanese are scooping most of the tourism profits – and that the Jakarta establishment, including the children of President Suharto, are more interested in "ego-tourism" than in prudent investments; so many hotels are being built that room-price wars erupt from time to time at five-star inns. There are also complaints that developers cheat landowners. Those who refuse to sell at low prices risk having their homes demolished by bulldozers; that is what allegedly happened this year at the Pecatu project of Suharto son Hutomo Mandala Putera. All that aside, compared to their neighbors on Lombok, where foreign and Jakarta investors have mostly shoved the Sasak people out of the tourist game, Balinese are doing well.

In 1937, Miguel Covarrubias wrote the seminal work Island of Bali. In it the Mexican author reckoned that the isle was "doomed to disappear under the merciless onslaught of modern commercialism and standardization." Years later, the American anthropologist Margaret Mead came to much the same conclusion. Today's jet-fresh tourists might well, too. In Kuta, confused, sun-burned visitors are hassled by day by sellers of cold drinks, copy watches and sunglasses and by night by touts pushing sex and drugs. Here Japanese and Australian girls can find instant romances with bronzed gigolos. In Ubud, tourists buy batik hangings that are rolled out like so much wallpaper. In fact, if tourists have any interest at all in Balinese culture, it is usually limited to buying mass-market folk art or attending a dance show, often at their hotel. Kids, bored with the thought of visiting yet another temple, want theme parks and water slides, such as the Kuta Water Bom park.

Even well-heeled Balinese would rather hang out at Kuta's Hard Rock Cafe than watch a classical legong dance. "There is a very serious middle class here with money to spend," says Stuart, an Australian who has made a good living from the tourist trade for the past 10 years. "Jakarta has its Taman Mini theme park. So why shouldn't Bali have its own? These are diversions, whether you're talking about parks or prostitutes. It's what comes with money."

And yet, amid the hungry commercial rush of Kuta's strip, each day young Balinese women place floral offerings to the gods in front of every doorway. On the sacred day of Nyepi, the entire island shuts down. On lesser feast days, some devoted to such quaint chores as blessing steel, wood and other materials, processions of brightly clad women and men in their Hindu whites take to the streets, delighting foreign onlookers. Sitting by the lotus pond in his garden, Agung says adat remains a big force in the lives of ordinary folk. "Youngsters might experiment a little with Western lifestyles," he says. "But the sanctions of the community are strong enough that they quickly get pulled back in line. The ritual drum that summons people for ceremonies still has a strong charisma."

In a place where most people will tell you that adat and religion come first in the scale of priorities, followed by family and, only then, business, clearly some kind of culture endures. The problem, says local anthropologist Degung Santikarma, is how to define what it is. "We are asking, 'What is authentic?'" he says. "But no one wants to listen. What we have is something fluid." In the meantime, he dismisses foreigners – "these romantic junkies from the West" – who stay a month or 12 and start telling the Balinese how to rescue their culture.

Of course, it was foreigners who helped to create much of the Bali that the world knows today. Before the colonial period, the Balinese were better known for frequent internecine wars and a thriving slave trade than for an enlightened culture. A handful of foreigners who lived on the island between the two world wars helped shape Bali's reputation as a cultural destination. The places they chose to settle – Kuta, Ubud, Sanur – became the focal nodes of modern tourism. Even as they disseminated images of the so-called last paradise – best exemplified by the bare-breasted Balinese beauty – these early residents encouraged art forms that might well have died out otherwise. "From the 1930s there was the appearance of imitation arts," says Prof. I Made Bandem, head of the Indonesian Institute of Arts at Denpasar. "Ritual forms were turned into mass art and sold to the tourists. This served to preserve them from extinction."

One of the most influential foreign residents was Walter Spies, a German painter and musician. He moved to Ubud, encouraged other artists and writers to settle in Bali, and did much to sow the seeds of artistic development in painting, sculpture and dance. When Ronald Reagan visited Bali in 1986, according to American ethnologist Edward M. Bruner, the then U.S. president was shown a kecak dance performance. The choreographer? None other than Walter Spies, who put together the routine with a Balinese troupe back in the 1930s.

When Made Yudha was growing up, his village in the Legian region was nothing but rice fields. Today they have for the most part been swallowed up by the hotels, lodges, restaurants, bars and shops that thrust for 10 kilometers north from Ngurah Rai airport through Kuta. "Development has been too fast," says Made, 35, who now oversees environmental affairs for the village association. "Maybe the government has handed out too many development licenses."

The governor, of course, believes different. Oka says that the 21 tourist zones are part of a master plan that involved discussions with all the affected communities. Each zone, he vows, will be developed to meet the individual needs of the area. Few Balinese believe it. "The government seems intent on pursuing mass tourism," says Suarnatha. "We could be looking for quality tourism, with lower numbers but more lasting value. Now the Bali government is saying every area of the island has to have a resort development. It's crazy."

Crazy or not, the Balinese are making money out of tourism in a style that their compatriots elsewhere in Indonesia can only envy. The changes continuing to press on the island may not suit romantics, and many Balinese admit they worry about what it will mean for their future. "We are not completely content," the governor acknowledges. "The people of Bali have to be aware that with all the changes we have seen, we now have to make corrections and learn to work efficiently. We know that what we enjoy now is our heritage, and we have to give it back to our children and grandchildren in a form they too can enjoy and use."

For the past century, Bali has endured dramatic change. But for every tourist who complains that the real Bali is dead, there is another who is impressed by the island's cultural individuality. Motorbikes and cars are now part of the Balinese legacy – and their owners take them to the temple for an annual blessing. In the midst of so much change, ritual lives on. Only the Gods of Bali can know how real it all is.

Keith Loveard is an Asiaweek senior correspondent based in Jakarta

resource :
http://www.baliguide.com

Ubud, the Heart of Bali

2008-07-28T08:49:00.000-07:00

This part of Indonesia remains welcoming and serene

by Jamie James

TOURISM to Bali began in the early 1920s, when the Royal Dutch Steam Packet Company added the island to its itinerary. By 1930 there were about a hundred visitors a year; a decade later the figure was 250. The ships stopped off the north coast, where passengers were ferried to shore first aboard tenders and then on the backs of Balinese men. Most visitors would traverse the island by motor car to the capital city of Denpasar, in the south, where they stayed at the luxurious Bali Hotel, opened in 1927.

Discriminating travelers, however, headed for the green hills of the interior, to visit the princedom of Ubud. There was no hotel in Ubud: travelers stayed in the bungalows that Prince Gde Agung Sukawati had built for the circle of artists he patronized. What was surely the most exotic art colony in the world at that time began with the arrival of Walter Spies, a Moscow-born German artist and musician who came to Bali for a visit in 1927 and stayed there until the Second World War, when he became a prisoner of war in the Dutch-controlled East Indies. In Ubud he encountered a culture as graceful and refined as any in the world, where everyone, it seemed, was an artist of one sort or another and child dancers in mystic trances enacted the fables of the Hindu classic Ramayana to the exuberant, clangorous accompaniment of a gamelan.

One early visitor to Ubud, Noel Coward, had his traveling companion, Charlie Chaplin, in mind when he wrote this bit of doggerel verse:

As I said this morning to Charlie,
There is far too much music in Bali.
And although as a place it's entrancing,
There is also a thought too much dancing.
It appears that each Balinese native
From the womb to the tomb is creative,
And although the results are quite clever,
There is too much artistic endeavor.

Today Bali welcomes thousands of foreign visitors every day. After the political upheavals in other parts of Indonesia last year, tourism dropped off temporarily, but Australians and Japanese, who constitute about half the island's visitors, are back in throngs. They know that regardless of what's going on in Jakarta and elsewhere, Bali remains as safe as can be: even as Indonesia's political and economic future remains cloudy, the Balinese, famous throughout the archipelago for their hospitable, easygoing ways, have maintained their wonted serenity.

Most tourists here are young travelers on a budget, who have turned the beaches south of Denpasar into a hell of traffic jams, raucous pubs, peddlers – and, yes, pickpockets and prostitutes. At the opposite end of the tourism spectrum are those who stay at one of Bali's many luxury resorts, where it's possible to spend as much as $1,000 a night to stay in a walled villa, and be served champagne and foie gras beside one's own private swimming pool. Yet today, just as in the days of the Royal Dutch Steam Packet Company, discriminating travelers – those who may not see the need to travel so far from home for loud bars or French food – come to Ubud, the heart of Bali.

I won't mislead you: Ubud is anything but undiscovered. On any afternoon most of the faces on its main streets are foreign, and most of the Balinese you meet are offering transport or other services (though, fortunately, the scene is far more subdued here than in the south). Yet it's still possible for even the lazy traveler – and Bali will have failed you if you don't soon lapse into a tranquil languor – to stray from the touristic path and discover the enchanted place that seduced Walter Spies and the glittery visitors who passed through.

THERE'S no better place to begin than the Hotel Tjampuhan (phone 011-62-361-975369, fax 975137), built on the site of Walter Spies's home. The hotel, which is owned by the sons of Prince Sukawati, is a funny old place. Much of the romance of the bamboo- and teak-finished rooms derives from inadequate lighting. (Bali, generally speaking, is a low-wattage island.) The service is a little erratic too: there was no stationery in my room, so I called the front desk to ask for some. Ten minutes later a man appeared at my door under a dripping umbrella, holding two sheets of writing paper as limp as boiled cabbage leaves.

Never mind – the site is exquisite. Tjampuhan, the old-fashioned spelling of Campuan, means "place where two rivers meet." The hotel's bungalows and guest rooms are arrayed along a steep ravine overlooking a turbulent river that rushes between rocky crags to meet its mate. Winding paths lead through the hotel's lush, sprawling garden, past lily ponds and shrines. On the opposite bank, perched just below terraced rice fields, is the ancient temple where the royal family of Ubud worships and performs its rituals. (Officially, there's no royalty in Indonesia now, but Bali doesn't pay much attention to rules).

I find that jet lag often conduces to discovery. On the first morning of my most recent visit to Ubud I awoke before dawn. Knowing that it would be impossible to go back to sleep, I dressed and strayed out into the streaky gray mist for a wander. I met Wayan, the "room boy," a lithe, quick-eyed man in his mid-thirties who had introduced himself the night before, when I checked in. He was in the garden gathering hibiscus flowers, which would be artfully tucked behind the ears of sculptured deities or scattered across bed sheets for romantic effect. I asked him how to get to the river, and he immediately set down his basket and led the way, along hairpin pebble pathways and then down a crude wooden staircase. It had rained during the night, so the river dashed ferociously through the gap. A forty-foot waterfall splashed noisily at the first bend in the river.

Wayan didn't stop there. He skipped across the water on a broad plank bridge and led the way up a steep dirt path to the crest of the ridge opposite the hotel. Here he pointed down a narrow lane lined with bamboo, and said, "You can walk." I thanked him and did as he suggested. Rice fields were on one side of the lane, the roaring river gorge on the other. A mother duck and her brood fell in behind me, gently gabbling to one another as they followed me to the end of the fields. Eventually I made my way past the royal temple to an old Dutch suspension bridge, just down the main road from the Hotel Tjampuhan.

No place in the world could be greener than Ubud. Everything here is green: the young rice fields glow a fluorescent shade of emerald; the thick curtains of foliage appear all the greener for the scarlet accents of ginger and hibiscus. Things that began another color – brick walls or pebble walkways – soon become green with shaggy moss. Even the air has a pale-green cast: the moisture suspended in it picks up the pervasive glow of the verdure. The Balinese have long called their island "the morning of the world." It's an extravagant phrase, but that morning I had an inkling of what they were talking about.

Another verbal extravagance, beloved of travel writers whose descriptive powers have deserted them, is the word "magical"; usually it's just hyperbole for "especially pretty." Yet there really is magic in Ubud. When Balinese people lose something, they consult a balian, a benign sort of sorcerer, who tells them where to find it. Balians can interpret dreams, cure sickness, go into trances, and speak in the voices of ancestors. And magic, in the form of the island's unique religion, is at the core of Bali's arts. A blend of Hinduism and nature worship, the Balinese religion is an ecstatic union of the spiritual and the aesthetic, reminiscent of the religion of ancient Greece. Bali's famous trance dances, for example, suggest the rites of Bacchus: in one of the sanghyang dances two girls who are supposedly untrained in the dance's intricate choreography go into a trance and, eyes firmly shut, move in perfect unison. The dance is named after the divine spirit that inhabits them.

WHEN Walter Spies arrived in Bali, he found a culture completely devoted to art, yet to which the notion of art for art's sake was alien. The Balinese have no word for "artist"; painting, carving stone and wood, weaving, playing a musical instrument, and, above all, dancing were just what one did when not fishing or working in the rice fields.

It is an axiom of art history that what used to be known as primitive art had a profound influence on the emergence of modernism in twentieth-century Europe. In Bali, Europe returned the favor: Spies had an uncanny affinity for the Balinese sensibility, and he thoroughly transformed the arts of the island in the fourteen years he lived there. The famous school of painting in Ubud, one of the principal attractions for people from every part of the world, was virtually his invention.

Traditionally the Balinese considered painting to be among the lowest of the arts; such painting as was done before Spies came was comparatively unsophisticated, consisting mainly of astrological calendars and scenes from the wayang, the mythological shadow-puppet show popular throughout the archipelago. Painters were limited by convention and by the natural pigments, such as bone, soot, and clay, that were available to them.

Spies, later joined by the Dutch artist Rudolf Bonnet, introduced Balinese artists to the wider range of colors of Western painting, and to the variety of effects possible with ready-made brushes and fine-woven canvas. More important, Spies and Bonnet introduced Western techniques, like perspective, and encouraged their students to venture beyond the traditional mythological subject matter and paint scenes from everyday life. Lest the two be accused of tampering with tradition, it should be pointed out that Balinese art, while formulaic, was never opposed to individual expressiveness; the island's most famous artist, I Gusti Nyoman Lempad, had begun to innovate stylistically before Spies's arrival.

As far as I know, there has never been another case of one person's having such a profound impact on the arts of a foreign culture. The best-known dance of Bali, the kecak, in which a chorus of men lie in a circle, loudly chanting "chak-a-chak-a-chak" as elaborately costumed soloists act out a tale from the Ramayana, was choreographed in its present form by Spies, in 1931. Originally the chorus was much smaller, and performed in a trance, but Spies wanted to create something more dramatic for a film he was working on – Victor Baron von Plessen's Island of Demons, an early effort to capture the romance of Bali and convey it abroad.

Ubud in the 1930s was among the most chic bohemian destinations in the world. Chaplin is said to have been disappointed that Balinese girls were not as promiscuous as their bare-breasted condition suggested. Margaret Mead and her lover, Gregory Bateson, got married on a ship steaming toward Bali, where they dropped in on Spies. Ruth Draper visited for a while, no doubt reciting her droll monologues for everyone after dinner. Most flamboyant of all was the heiress Barbara Hutton, who fell violently in love with Spies and dragged him off to Cambodia to see Angkor Wat. With the money she paid him for some paintings, he built her a bungalow and a swimming pool next to his house, but by the time it was finished, she had moved on to Persia. (Guests at the Hotel Tjampuhan may stay in this bungalow; the swimming pool is now a lily pond.)

Spies, however, was sexually inclined in a different way, with disastrous results. The Dutch authorities, scandalized at the general moral laxity of foreigners in Ubud, and as part of a crackdown on homosexuals throughout the colony, arrested Spies on New Year's Eve, 1938, for committing sodomy with a minor. According to his biographer, Hans Rhodius, the Balinese were shocked and puzzled by the arrest, and brought Spies's favorite gamelan to play for him outside the window of his jail cell. The boy's father told the trial judge, "He is our best friend, and it was an honor for my son to be in his company. If both are in agreement, why fuss?"

Spies was released from prison in September of 1939. While war was breaking out in Europe, he threw himself into the study of insects and marine life, turning out some exquisitely observed gouaches of his specimens. After Germany invaded Holland, the following year, all German citizens living in the Dutch East Indies were arrested. Spies, the last German on Bali, was sent to a prison in Sumatra. There he continued painting and organized an orchestra, which he conducted in performances of Rachmaninoff. In 1942, fearful of an imminent Japanese attack, the Dutch authorities put their German captives on a ship for transport to Ceylon. The day after it embarked, the vessel was hit by a Japanese bomb. The Dutch crew abandoned the sinking ship, and left their prisoners to drown, slowly and horribly.

THERE is still too much artistic endeavor in Bali, though the scene is not as lively as it once was. The last great burst of creativity came in the early sixties, again at the instigation of a foreigner. In 1960 a Dutch painter named Arie Smit, who had been living in Bali for four years, was strolling through the countryside near Campuan, and came upon some boys who were drawing in the sand. He was struck by their talent, and invited them to his studio. There he gave them paints and brushes and instructed them in technique but made no suggestions as to color or content, and kept his own richly coloristic, Matisse-influenced paintings out of sight. The results, which became known as the Young Artists movement, were vigorous genre scenes, often broadly humorous, rendered in bright, flat colors with strong contours.

Smit lives in a bungalow at a small hotel next door to the Museum Neka, one of the best museums in Indonesia, where many of his paintings are on display. Now eighty-three, Smit is a big, tall man, with the benevolent, well-shaped head of a Rembrandt prophet. He welcomed the opportunity I provided to talk about old times in Bali. He told me about a Waterman fountain-pen heiress who dressed her servants in gold livery. While Margaret Mead was a guest of Smit's, Buckminster Fuller came for a visit to the island; the two luminaries conceived an instant and intense dislike for each other.

When I asked Smit to characterize the contemporary art scene in Bali, he laughed and said, "Confused." He recommended a young artist named I Gusti Agung Wiranata, who paints in the brooding, dramatic style of Walter Spies. "People criticize him, saying he only copies Spies," Smit said. "But he has succeeded in making better paintings than Spies, because he is Balinese." He told me I would find some of Wiranata's work at the Museum Puri Lukisan, Ubud's other art museum, which was founded in the early fifties by Rudolf Bonnet and Prince Sukawati.

The Puri Lukisan's collection is excellent, with a particularly strong holding of I Gusti Nyoman Lempad's work, but the gardens are so lovely that I could hardly bring myself to go indoors to look at the art. A deep gorge at the entrance is spanned by a bridge, which leads to a brick path winding among a series of lily ponds and bowers. When I arrived, some laborers were clearing the hillside in front of the garden, making terraces to plant rice.

I quickly found a fine Wiranata: next to the entrance of one of the galleries hung a round painting, no more than a foot in diameter, of a paddy field at day's end, the sinuous terraces reflecting the extravagant pastels of a Balinese sunset. The style was undeniably close to Spies's, but with a sense of repose that is lacking in the German's work. On my way out I struck up a conversation with the young woman who worked at the postcard pavilion. I asked her if a curator was about, or someone in charge I could speak to. She called out to an old man working in the rice terrace, ankle-deep in mud. After he had washed off his feet and put on a clean shirt, he came over to meet me.

Pak Muning, as he was called, was indeed a curator. He said that he knew Wiranata, and asked if I would like to meet him. I agreed to come back with a car. We drove to a little village about fifteen miles out of Ubud, and found the artist, a handsome young man in his mid-twenties, dozing on his back porch. He received us affably, and asked his wife to prepare coffee for us. I complimented him on his work, and then asked him what was his response to people who said that he copies Walter Spies. He had a pat answer: "If people say I only copy Walter Spies, I say that's okay. Walter Spies came to copy Bali." His father was an artist, Wiranata said, and his uncle was also an artist. Now he lived with his in-laws, and he complained about it, saying he missed Ubud. "A better place for painting, I think." He showed me his studio, a fluorescent-lit cubicle with a boom box and a collection of American rock tapes.

When I returned to the Hotel Tjampuhan, Wayan was making up my room. He told me that he must say good-bye, because he had to go to a cremation; his brother-in-law, a twenty-two-year-old stone carver, had died the day before, buried in a landslide at his outdoor studio, on the bank of the river. His wife, Wayan's sister, was four months pregnant. When I offered my condolences, he shrugged and said, "It was God's will. Good-bye, sir. Please to have a happy life." He bowed and quietly left the room.

Disconcerted, I ordered a coffee from room service and moved to the balcony to watch night fall. I sipped the sweet, strong brew until I came to the mud at the bottom of the cup. The moon was a pale presence behind mottled clouds; a chill crept into the air. Across the ravine I could just make out the slim shapes of worshippers arriving at the temple, their gold and pink satin sarongs glinting in the green gloom. The silvery, slightly hysterical jangle of the gamelan commenced, accompanied by the trumpeting of frogs and the screech of a gecko, melded by the basso continuo of the river torrent.

"Have a happy life": of course it was just a pleasantry. But, I reflected, a man whose job it was to collect hibiscus flowers at dawn, in a river gorge in Ubud, and who could cope with the tragic death of a twenty-two-year-old relative with such equanimity, might have some idea of what that meant.

Jamie James is a critic and travel writer who lives in New York and Bali. He is the author of The Music of the Spheres: Science and the Natural Order of the Universe (1993) and Pop Art (1996).

It's Time to Die for Bali bombers

2008-07-28T08:42:00.000-07:00

by Cindy Wockner in Jakarta

July 27, 2008 12:00am

AUTHORITIES are scouting for execution sites for the Bali bombers' imminent date with firing squads. Prosecutors this week went to Nusa Kambangan Island - where smiling assassin Amrozi, his older brother Mukhlas and Imam Samudra are jailed - to look for a suitable site.
The trio, found guilty of involvement in the 2002 bombings that killed 202 people, including 88 Australians, are held in maximum security cells.

Bali's chief prosecutor Dewa Putu Alit Adnyna has reiterated the Indonesian Attorney-General wants the trio executed before the beginning of the Holy Islamic fasting month of Ramadan, which begins about September 1. One of the prosecutors inspecting execution sites was Ida Bagus Wiswantanu - who handled Schapelle Corby's case. He said the execution site was a secret. But it is understood it will be in the south of Nusa Kambangan Island, off central Java.

It is believed to be close to the place where, in late June, two Nigerian drug traffickers were tied to poles late at night and shot dead at the same time. Nusa Kambangan Island, just off the coast of Cilacap, has five jails and an oil refinery. The island is heavily wooded and the execution site is close to a road so vehicles can get in and out. Indonesia's Attorney-General, Hendarman Supandji, said he hoped the executions would be before Ramadan.
Mr Adnyna yesterday said he was doing everything to meet the time frame.

The Supreme Court recently announced the bombers had exhausted all avenues of appeal.
Lawyers for the men intend to lodge a complaint about the form of the appeal denial.
"If that is the decision, it (a court clerk's letter) did not explain who is the judge and the date the decision was made is not there also," lawyer Mahendradatta said.

Mahendradatta said the lawyers would write to the Supreme Court tomorrow and ask to see an official court decision made by judges. He said executions should be done according to the due process of law. The three firing squads will be formed by Brimob, the jail's paramilitary police squad. The three men will be executed simultaneously by firing squads of 12 men each. In each squad, up to six men will have live rounds and the rest will fire blanks.
In the past six weeks Indonesia has executed six people, drug dealers and murderers.
By law, executions must not be seen by any member of the public.

source :
http://www.news.com.au

Sanur

2008-07-26T06:10:00.000-07:00

Derived from the two words “saha” and “nuhur”, which means having a passion to visit a certain place, Sanur represents a name that carries important history for tourism in Indonesia, and Bali more specific. It was on the very beach of Sanur that the first Netherland troops set foot on the island of Bali in 1906. This was also the exact place that the first war occurred between the Netherlands against the community of Bali in defending their land from colonialism. This war was later known as the Puputan Badung, a heroic event that is strongly remembered by every individual Balinese until today’s generation.

Talking about Balinese art, Sanur is the true pioneer of arts and tourism instead of Ubud. It was Sanur that Le Mayeur, a Belgium artist, made his home in the 1930s. He fell in love with the people and the abundance of nature, which inspired him to paint hundreds of paintings. And it was here too that Donald Friend, a gifted illustrator, also known as Tuan Raksasa or Lord Devil Donald, who bought much of the beach on which today’s Sanur is built.

Located in the southern part of Bali around 30 minutes from the Ngurah Rai International Airport, Sanur is famed for its beautiful strip of pure sandy beaches across the coastal line. It is also reputed for its spectacular sunrises, which literally mark a new day in the life of the Balinese. In addition to being home to some of Bali’s best known hotels, Sanur is also a very cozy, comfortable residential area. As such, it is much quieter than Kuta and has more “Balinese character” than the newer Nusa Dua resort area.

As the first witness of the Bali tourism industry, Sanur has a lot of historical landmarks such as The Bali Hyatt, Villa Batu Jimbar, and the Inna Grand Bali Beach Hotel, the first international hotel in Bali where the 1st President of Indonesia, Soekarno, and the Prime Minister of India, Mahatma Gandhi, have stayed.

By the 1960s, Sanur was the “in” place where Walter Spies, Sophia Loren and even some royalty kept a low profile and immersed themselves in paradise. Mick Jagger and his former wife Jerry Hall even made Sanur as their second home. They stayed at Tandjung Sari Hotel and were wedded there in a traditional Hindu Balinese ceremony in 1990.

Sanur also has a well-deserved reputation for magic. In the ’70s, wars were ongoing between the shamans of Sanur and of the Kamasan village in the KlungKung regency. It is said that many people witnessed strange occurrences during this time such as red lights darting above houses and other unexplainable phenomena. Today, Sanur retains its laid-back atmosphere with a few changes for the good. Thankfully, there are no more signs of magic, though.

Many new restaurants that offer a wide variety of both Western and Indonesian cuisines have opened as well. Trendy restaurants such as Batu Jimber, Four Points and Ryoshi are situated on the main road, Jl. Danau Tamblingan, which runs through central Sanur. There are also many good restaurants on the beach or down side streets.

If you are looking for a more authentic culinary experience, then you should definitely check out Warung Mak Beng, a favorite among locals since 1941. She is reputed to serve the best crunch Fried Fish and mouthwatering Fish Soup in Sanur.

The beaches of Sanur are perhaps the best feature of this quaint village. They span from as far north as Padang Galak Beach, with its expansive stretch of black sand, and down south to Mertasari Beach. Several beaches lie in between, and all blend together seamlessly with an attractive boardwalk that spans the tract from Sanur to Mertasari. Visitors can take leisurely walks or cycle stress-free because no motorbikes are allowed here.

Recently, all Sanur beaches have been reclaimed under a project sponsored by the World Bank and the Japanese government. Tons of sand were brought in from the ocean to replace the sand that had been washed away. The boardwalk was also repaired and extended to Mertasari Beach, and several small gazebos were built on the jetties for visitors.

Sanur’s beaches are ideal for families because the water is much calmer than at Kuta or Seminyak and therefore a lot safer for children. Many fun beach activities are also held in the area for everyone to enjoy.
By the Hyatt Bali at Semawang Beach, visitors can choose from a variety of water sports, such as parasailing, jet skiing, water skiing or even book a diving trip to Nusa Penida, where they can view all kinds of beautiful tropical fish and colorful coral.

For those seeking less thrills and who prefer to experience a bit of the “old” Bali, try renting a jukung — a traditional wooden boat decorated with multi-colored paint. These boats are customarily used for fishing the seas, but local boat owners often supplement their income by taking tourists out to the reef for snorkeling or sightseeing. Yes, there are hawkers here too, but they don’t hassle visitors as much as they do on other beaches, and escaping them is easy enough with a smile.

And one event not to be missed is the annual Sanur Village Festival (SVF) at Inna Grand Bali Beach and Segara Beach hotels from Aug. 15-19 featuring cultural performances, sports, culinary events and other fun activities. Domestic and international tourists are invited to enjoy the festival, which will also include painting, bonsai exhibitions, a jazz festival, sport activities and cultural parade. With its myriad of authentic uniqueness and its eclectic aesthetic galore, Sanur is truly presenting a more than eyes worth visit.

resource:
http://www.baliplus.com

Regular Event

2008-07-26T06:03:00.000-07:00

Kuta Legian/Seminyak

BACIO
Blue Ocean Boulevard - An exclusive club/lounge (with dress code) next to Double Six Club. Fancy and funky!

BLUE NIGHT CLUB @ CONTIKI

Jl. Dhyana Pura 66 - has the best cranking commercial dance music, R & B, etc. Party hard in their air-conditioned venue. Open Fri. & Sat. 9:30pm - 3:00am. Ph: 730 573.

THE BOUNTY SHIP

Jl. Legian - Home to the famous "Jam Jar". A popular Restaurant/Bar/Nightclub. Open 24 hours and feats. R&B, house, Techno and live music. Restaurant Happy Hours- 9-12 pm.; Club Happy Hours - 12 - 2am.

DEEJAY CAFE @ Paradiso Bowling

Jl. Kartika Plaza – For party animals that want to keep going till dawn! Open daily 11pm-dawn.

DEJA VU

66 Boulevard - Beach-front venue that plays the best sounds of this season, open from 5pm ‘til late. Bali’s trendiest crowd - from all over the globe!

66-DOUBLE SIX BAR & RESTAURANT

Jl. 66 - Right on the beach, open every night 'til 6 am., this nightclub gets packed on Fri. & Sat. nights; (cover charge). Call 731266.

F-LOUNGE

This renovated bar, in Fabio’s Restaurant on Jl. Raya Seminyak 66 in Seminyak, is of romasnesque proportions - literally. Air-conditioned with guest DJ’s. Chic, elegant, or as you are. Call 730562.

GADO GADO RESTAURANT

Jl. Dhyana Pura - Gado Gado beach lounge features the latest tunes, a varied selection of international wines, fine coffees, and creative cocktails, not to mention a view to die for!

HARD ROCK CAFE

Jl. Pantai Kuta - The place that Rocks! Packed full at weekends and feats. some great music memorabilia. Watch out for Int’l guest bands.

HU'U BAR

Jl. Oberoi, Petitenget - With a spring water swimming pool and chill-out lounge; it’s one of the best watering holes in town, #1 for Lychee Martinis! Hu’u feats. Nocturnal Fridays & P.O.R.N. on Saturdays! Call 736443.

KAMA SUTRA

Jl. Pantai Kuta - This Club, Restaurant & Lounge follows a ‘divinely sensual’ Mughal theme. Live Bands, outstanding music, top class drinks all in a divinely aircon-ed venue puts it top of any list. Tel. 761999

KU DE TA

Jl. Lasmana, Seminyak -This is the beach view. 3 well stocked bars gather a big crowd day and night, especially to the sounds of top Int’l DJ’s. Fun parties, this is the place to be. Call 736969.

KORI RESTAURANT & BAR

Gg. Poppies II - Relaxed and cozy; imported wines, chilled cocktails and ice-cold beers. Cigar salon complete with pool table all available in an idyllic Bali garden. Best weekly deals on cocktails & beers on Bali! Don’t miss hearing Unplugged Traffic Blues Band on Ladies Night each Wednesday. Ph: 758605.

M-BAR-GO

Jl. Legian - Kuta’s most fancy night club. Air-conditioned w/ beach couture fashion shows every Thurs. 9pm. - late. Look out also for their salsa nights!

OBSESION

Jl. Dhyana Pura - Bali's best World Music bar with live entertainment every night! Hot Latin nights on Sundays, Tuesdays and Fridays. Open from 6pm till late. Ph: 730 269

THE WAVE

Jl. Pantai Kuta - on the corner of kuta beach street. Seriously nice multi - storey design building with first class service venues ; the club..fresh ! For sound, DJ spining house music to progressive ; the coffee bar is open for 24 hour.

Sanur

JAZZ BAR & GRILL

Jl. Bypass Ngurah Rai – Live bands every night and regular performances by Indonesia’s jazz guest stars. Open daily 11am-2pm.

KAFE WAYANG RESTAURANT + BAR

Jl. By Pass Ngurah Rai - Komp. pertokoan 12 - 14 Rush hour 4pm - 7pm; Bintang Beer buy 1 get 1 free. Crazy night every Fri. & Sat. 23:00 - 24:00 get 25% discount on selected drinks. Live bands every Thurs., Fri. & Sat. @ 10pm onwards. Ph: 287591, 283183.

SECTOR BAR & CLUB

Jl. Hangtuah 58 – Has the best bar and lounge in Sanur! Open daily 6am-12pm.

Ubud

EXILES

Jl. Pengosekan Kaja – An upgraded warung featuring local bands every day.

News on July 2008

2008-07-26T05:56:00.001-07:00

date		events

2nd~6th		Lomba Utsawa Dharma Gita will be held by the Cultural Department as part of Sightseeing Denpasar 2008.
10th~13th		Kite Race at Lapangan Padang Galak will be held by the Tourism Department at Lapangan Padanggalak.
12th ~ 19th		Pasar Rakyat will be held by Dinas Koperasi / Dekopinda as an event of the Sightseeing Denpasar 2008 agenda.
17th		Purnama Kasa is a ceremony held for full moon.
23rd		National Children Day will be held at Lapangan Puputan Badung.
26th		Tumpek Ngatag/Pangarah/Uduh is a day devoted to Ida Sanghyang widhi Wasa / Almighty God as Sanghyang Sangkara, Lord of all food plants and vegetation. Blessing ceremonies are focused at gardens, rice fields and plantations for good crops and products. Balinese people (Hindu devotees) lay offerings as the expression of gratitude to the Almighty God on His bestowal to create plants as resources for the prosperity of mankind.
30th		Isra ‘Mi’raj Nabi Muhammad SAW in Islamic tradition are two parts of a journey that Prophet Muhammad SAW took in one night, in 621 AD (1 BH). Many Muslims consider it a physical journey but some Islamic scholars consider it a dream.

History of Bali

2008-07-25T23:54:00.000-07:00

Bali has been inhabited for a long time. Sembiran, a village in northern Bali, was believed to have been home to the people of the Ice Age, proven by the discovery of stone axes and adzes. Further discoveries of more sophisticated stone tools, agricultural techniques and basic pottery at Cekik in Bali's far west, point to the people of the Neolithic era. At Cekik, there is evidence of a settlement together with burial sites of around a hundred people thought to be from the Neolithic through to the Bronze Age. The massive drums of the Bronze Age, together with their stone moulds have been discovered throughout the Indonesian archipelago, including the most famous and largest drum in Southeast Asia, the Moon of Pejeng, nearly two meters wide, now housed in a temple in east Ubud. In East Java and Bali, there has also been a concentration of carved stone sarcophagi, which we can see in the Bali Museum in Denpasar and Purbakala Museum in Pejeng.

Bali was busy with trade from as early as 200 BC. The prasasti, or metal inscriptions, Bali's earliest written records from the ninth century AD, show a significant Buddhist and Hindu influence; especially in the statues, bronzes and rock-cut caves around Mount Kawi and Gajah Cave. Balinese society was pretty sophisticated by about 900 AD. Their marriage portrait of the Balinese King Udayana to East Java's Princess Mahendratta is captured in a stone carving in the Pura Korah Tegipan in the Batur area. Their son, Erlangga, born around 991 AD, later succeeded to the throne of the Javanese kingdom and brought Java and Bali together until his death in 1049.

In 1284, Bali was conquered by Kertanegara, the ruler of the Singasari; until the turn of the century, saw Bali under its own rule under the hands of King Bedaulu of Pejeng, east of Ubud. 1343 AD, is an important date in Bali's history. It was then that the whole island was conquered by East Java under the mighty Hindu Majapahit kingdom. This resulted in massive changes in Balinese society, including the introduction of the caste system.

Balinese who did not embrace the changes fled to the isolated and remote mountainous areas and hill areas. Their descendants are known today as Bali Aga or Bali Mula that means the "original Balinese". They still live separately in villages like Tenganan near Dasa Temple and Trunyan on the shores of Batur Lake, and maintain their ancient laws and traditional ways. When Majapahit in East Java fell in 1515, the many small Islamic kingdoms in the island merged into the Islamic Mataram empire, Majapahit's most dedicated Hindu priests, craftsmen, soldiers, nobles and artists fled east to Bali, and flooded the island with Javanese culture and Hindu practices. Considering the huge influence and power of Islam at the time, it is worth pondering why and how Bali still remained strongly Hindu and Buddhist.

Batu Renggong, also known as Dewa Agung, means great god, became king in 1550, and this title became hereditary through the succeeding generations of the kingdom of Gelgel, and later Klungkung, until the twentieth century. Bali reached the pinnacle of its Golden Era under the reign of the Batu Renggong, the great god ruler. Bali's decline started when Batu Renggong's grandson, Di Made Bekung, lost Blambangan, Lombok and Sumbawa. DI Made Bekung's chief minister, Gusti Agung Maruti, eventually rebelled and reigned from 1650 till 1686, when he in turn was killed by DI Made Bekung's son, Dewa Agung Jambe, who then moved the court to Klungkung, and named his new palace the Semarapura, Abode of the God of Love.

Restaurants

2008-07-25T23:20:00.000-07:00

DENPASAR

Seaside Restaurant
Pantai Arjuna Double Six Street 17
Phone: (0361) 737139

Sanur Garden Restaurant
Danau Tamblingan Street 79
Phone: (0361) 288335

Samudra Restaurant
Teuku Umar Street 69
Phone: (0361) 221758

Red Dragon Restaurant
Raya Kerobokan Street 107
Phone: (0361) 731468

Rasa Graha Restaurant
Tirta Nadi Sanur Street
Phone: (0361) 287712

Rama Briage Restaurant
Dewi Sartika Street
Phone: (0361) 754854

Rai Seafood Restaurant
Pratama Tanjung Benoa Street
Phone: (0361) 771277

Puri Jimbaran Restaurant
Pantai Kedonganan Street
Phone: (0361) 709119

Puri Dayu Restaurant
Padma Legian Kuta Street 9X
Phone: (0361) 755896

The Palace International Restaurant
Raya Kuta Street 68 Central Parkir Kuta Complex, Tiara Kuta Galleria
Phone: (0361) 762255

The Hann Restaurant
Pantai Mangiat Street 88
Phone: (0361) 774210

Thai Restaurant
Pura Bagus Teruna Street 523
Phone: (0361) 761771

Take Japanese Restaurant
Padma Street
Phone: (0361) 763376

Swastika Garden Restaurant
Bali Hyatt Street
Phone: (0361) 288573

Taipan Restaurant
Raya Kuta Tuban Street 17-G
Phone: (0361) 755850

Shanghai Restaurant
By Pass Nusa Dua Street
Phone: (0361) 777959

Galaxy Restaurant
Dyana Pura Street 10-X
Phone: (0361) 731011

Bali Gonzaga
Pratama Tanjung Benoa Street
Phone: (0361) 776565

Ultimo Restaurant
Lesmana Street 104-X
Phone: (0361) 738720

Twigs Restaurant
Legian Tengah Street 408
Phone: (0361) 767285

Turama Restaurant
Teuku Umar Street 226
Phone: (0361) 256405

Tudes Bar & Grill Restaurant
Mertasari Street 8-A
Phone: (0361) 286682

Trophy Pub & Restaurant
Danau Tamblingan Street 49
Phone: (0361) 286230

Toscana Italian Restaurant
Lesmana Street 104-X
Phone: (0361) 738720

Tiu Ciu Restorant
P Diponegoro Street 150 IDT Trade Centre, A/3
Phone: (0361) 264967

Legian Restaurant
P Diponegoro Street 103
Phone: (0361) 241222

Jimbaran Beach Cafe
Pemelisan Agung Street
Phone: (0361) 703033

Yans Restaurant
Kartika Plaza Kuta Street
Phone: (0361) 766223

Yakiniku Sama Sama Restaurant
By Pass Ngurah Rai Street 128
Phone: (0361) 771129

Wina Veggie Restaurant
Pulau Saelus Street 8 C
Phone: (0361) 254854

Wendys Restaurants
P Diponegoro Street 103-AB
Phone: (0361) 243848

Watering Hole Restaurant
Hang Tuah Street 37
Phone: (0361) 288289

Venue @ The Moon Restaurant
Petitenget Kerobokan Street 2001-X
Phone: (0361) 730629

Planet Hollywood
By Pass Ngurah Rai Street Galleria Bali
Phone: (0361) 757827

Orientale Restaurant
Hayam Wuruk Street 130
Phone: (0361) 261562

Golden Palace International Restaurant
Raya Kuta Street
Phone: (0361) 752304

GIANYAR

Ubud Sari Restaurant
Kajeng Street
Phone: (0366) 972271

Ryoshi Japanese Restaurant
Raya Ubud Street
Phone: (0366) 972192

Barandi & Bar Restaurant
Raya Pengosekan Street
Phone: (0366) 975894

Arys Restaurant
Raya Ubud Street
Phone: (0366) 978305

Puri Garden Restaurants
Monkey Forest Ubud Street
Phone: (0366) 975395

Green House
Monkey Forest Street Ubud
Phone: (0366) 978189

Mozaic Restaurant
Raya Sanggingan Street
Phone: (0366) 975768

Miros Garden Restaurant
Bisma Baru Ubud Street
Phone: (0366) 973314

Kubuku Restaurant
Monkey Forest Street Padang Tegal
Phone: (0366) 974742

Cisa Cafe & Resto
Monkey Forest Street
Phone: (0366) 976127

Dancer Restaurant
Raya Ubud Street
Phone: (0366) 975751

Beggars Bush & Bar Restaurant
Raya Ubud Street
Phone: (0366) 975592
AMLAPURA

The Watergarden
Raya Candidasa-Karangasem Street
Phone: (0363) 41540]

Vincents Restaurant
Raya Candidasa Street
Phone: (0363) 41368

Sandya Restaurant
Tulamben Street
Phone: (0363) 22915

Rai Beach Inn & Restaurant
Selayukti PadangBai Street
Phone: (0363) 41385

Kubu Bali Restaurant
Candidasa Street
Phone: (0363) 41532

Kafetaria Biru Restaurant
Raya Candidasa Street 4
Phone: (0363) 41270

Hawaii Restaurant
Candidasa Street
Phone: (0363) 41138

BANGLI

Puri Selera Restaurant
Penelokan Street
Phone: (0366) 51461

Puri Dewata Restaurant
Kintamani Street
Phone: (0366) 51215

Bumi Ayu Restaurant
Penelokan Kintamani Street
Phone: (0366) 52223

Batur Sari Restaurant
Penelokan Kintamani Street
Phone: (0366) 51007

Puri Dewa Restaurant
Penelokan Street
Phone: (0366) 51414

Kintamani Restaurant
Penelokan Street
Phone: (0366) 51190

Kaldera Restaurant
Penelokan Street
Phone: (0366) 51412

Maharaja Restaurant
Bayung Gede Penelokan Street
Phone: (0366) 51727

SINGARAJA

Sunset Ayu Restaurant
Banyualit Lovina Street
Phone: (0368) 41054

Semina Restaurant
Kalibukbuk Street
Phone: (0368) 41094

Puri Taman Lovina
Pantai Bina Ria Lovina Street
Phone: (0368) 41191

Pondok Larizze
Pramuka Street 5
Phone: (0368) 23588

Kartika Restaurant
Jend A Yani Street 25-I
Phone: (0368) 22296

Angsoka Restaurant
Angsoka Street 12-B
Phone: (0368) 41268

Lian Restaurants
Lovina Street
Phone: (0368) 41480

Kwizien
Raya Kaliasem Street
Phone: (0368) 42031

Khi-Khi Seafood Restaurant
Lovina Beach Street
Phone: (0368) 21548

Gandi Restaurant
Jend A Yani Street 25-H
Phone: (0368) 21163

Biyu Nasak Restaurant
Raya Lovina Kaliasem Street
Phone: (0368) 41176

Awangga Restaurant
Lovina Kalibukbuk Street
Phone: (0368) 41561

Accomodations

2008-07-25T22:57:00.000-07:00

DENPASAR

Santika Beach Bali Hotel
Kartika Plasa Street
Phone: (0361) 761885

Santiyasa Hotel
Patih Jelantik Street
Phone: (0361) 237423

Santrian Beach Resort
Cemara Street
Phone: (0361) 286625

Sanur Indah Hotel
Danau Buyan Street 29
Phone: (0361) 288568

Rum Jungle Road Hotel
Pura Bagus Street 518
Phone: (0361) 758460

Sahid Raya Bali Hotel
Pantai Kuta Legian Street
Phone: (0361) 753855

Samsara Hotel
Legian Kuta Street 110
Phone: (0361) 751789

Royal Resort
Uluwatu Street 105
Phone: (0361) 702195

Risata International Beach Hotel
Segara Kuta Street
Phone: (0361) 753340

Radisson Bali Hotel
Hang Tuah Street 34
Phone: (0361) 281781

Rama Garden Hotel
Padma Legian Kuta Street
Phone: (0361) 751971

Puri Dalem Hotel
Hang Tuah Street
Phone: (0361) 288421

Paradiso Beach Inn
Legian Street 61
Phone: (0361) 752270

Legian Paradiso Hotel
Legian Street 118
Phone: (0361) 752167

Stana Puri Gopa Hotel & Resort
Kesumasari I Street 4
Phone: (0361) 289948

Seraton Langon Hotel
Nusa Dua Street
Phone: (0361) 7446495

Segara Beach Inn
Tegal Wangi Street 9
Phone: (0361) 756372

Semawang Beach Hotel
Cemara Street 3
Phone: (0361) 288619

Sativa Sanur Hotel
Danau Tamblingan Street 45
Phone: (0361) 287881

Sanur Mentari Hotel
Hang Tuah III Street 3
Phone: (0361) 282488

Sanur Plaza Hotel
By Pass Ngurah Rai Street 36
Phone: (0361) 286017

Kuta Palace Hotel
Padma Utara Street
Phone: (0361) 756663

Kuta Paradiso Hotel
Kartika Plaza Street
Phone: (0361) 761414

Bali Lovina Beach Hotel
Raya Lovina Street
Phone: (0361) 222385

Bali International Hotel
Metrasari Street 19
Phone: (0361) 222151

Bali Intercontinental Hotel
Uluwatu Street 45
Phone: (0361) 702670

Bali Hyatt Hotel
Danau Tamblingan Street 89
Phone: (0361) 288271

Bali Holiday Resort
Dyana Pura Kuta Street
Phone: (0361) 730847

The Sandi Phala Hotel
Wanasegara Kuta Street
Phone: (0361) 766450

The Losari Kuta Bali
Sahadewa Street 19
Phone: (0361) 759999

The Legian Bali Hotel
Laksamana Seminyak Street
Phone: (0361) 735850

Swastika Guess House Hotel
Danau Tamblingan Street 46
Phone: (0361) 281935

Taman Agung Beach Inn Hotel
Danau Tamblingan Street 146
Phone: (0361) 288549

Sudarsana Beach Inn
Padma Utara Legian Street
Phone: (0361) 755916

Sulendra Beach Inn Hotel
Legian Street, Poppies II
Phone: (0361) 754014

Kartika Plaza Hotel
Kartika Plaza Kuta Street
Phone: (0361) 751067

Janur Garden Hotel & Restaurant
By Pass Ngurah Rai Street
Phone: (0361) 288155

Hyatt Regency Hotel
Nusa Dua Street
Phone: (0361) 771188

Grand Mirage
Pratama Street 72-74
Phone: (0361) 771888

Grand Bali Beach Hotel
Hang Tuah Street
Phone: (0361) 282281

Ever Green Hotel
Legian Kuta Street
Phone: (0361) 730386

Bali Resort Palace Hotel
Pratama Tanjung Benoa Street
Phone: (0361) 772360

Widas Beach Hotel
Melasti Street 36
Phone: (0361) 759866

Tunjung Bali Resort
Padma Utara Legian Kuta Street
Phone: (0361) 756013

Tumc Komp Sahid Hotel Kuta
Pantai Kuta Legian Street
Phone: (0361) 756659

Tugu Bali Hotel
Raya Pantai Batu Bolong Street
Phone: (0361) 731702

Tirta Lestari Hotel
Nangka Street 62
Phone: (0361) 229882

The Villas Hotel
Kunti Street 118-X
Phone: (0361) 734957

Orchid Garden Cottages
Werkudara Street 525
Phone: (0361) 751802

Novotel Coralia Benoa Bali
Pratama Tj Benoa Street
Phone: (0361) 772239

Natour Sindhu Beach
Danau Tondano Street 14
Phone: (0361) 286768

Melasti Beach Resort
Kartika Plasa Street
Phone: (0361) 751335

Mastapa Garden Hotel
Legian Street 139
Phone: (0361) 751660

Lili Garden Cottages
Banjar Pengabetan Street
Phone: (0361) 754132

Kuta Lagoon Resort Hotel
Legian Street 363
Phone: (0361) 750888

Aquarius Star Hotel
Legian Street 116
Phone: (0361) 756573

TABANAN

Vista Hotel
Pulau Batam Street 31
Phone: (0362) 811592

Tabanan Hotel
Pahlawan Street 10-X
Phone: (0362) 811355

Mutiara Tanah Lot Hotel
Tanah Lot Kediri Street
Phone: (0362) 812939

Dewi Mantik Wisma
Bedahulu Street 1
Phone: (0362) 811158

Dewi Sinta Restaurant & Villa
Taman Wisata Tanah Lot
Phone: (0362) 812933

Le Meridien Hotel
Tanah Lot Kediri Street
Phone: (0362) 815900

Kuskus Indah Hotel
Pulau Batam Street 32
Phone: (0362) 815373

GIANYAR

Ubud Inn
Monkey Forest Street
Phone: (0366) 975071

Ubud Hotel
Sweta Street 6
Phone: (0366) 974007

Saren Indah Hotel
Nyuh Kuning Street
Phone: (0366) 971471

Griya Jungutan Hotel
Monkey Forest Street
Phone: (0366) 975752

Grand Ubud Hotel
Monkey Forest Street
Phone: (0366) 974053

Arma Resort
Pengosekan Street
Phone: (0366) 976659

Champlung Sari Hotel
Monkey Forest Ubud Street
Phone: (0366) 974686

Cecak Inn Hotel
Campuan Ubud Street
Phone: (0366) 976225

Barong Resort Hotel
Monkey Forest Ubud Street
Phone: (0366) 971759

Puri Dalem Cottages
Hanoman Padang Tegal Street
Phone: (0366) 973452

Ibah Hotel
Raya Campuhan Street
Phone: (0366) 972600

Argasoka Hotel
Monkey Forest Street
Phone: (0366) 973231

AMLAPURA

Emerald Hotel
Tulamben Street
Phone: (0363) 22925

Bali Shangri-La Hotel
Samuh Village
Phone: (0363)

Bali Samudra Hotel
Candidasa Street
Phone: (0363) 41542

Aman Kila Hotel
Manggis Street
Phone: (0363) 41340

Alila Manggis Hotel
Manggis Karangasem Street
Phone: (0363) 41011

Puri Bagus Hotel
Candidasa Street
Phone: (0363) 41290

Madia Hotel
Pelabuhan Padangbai Street
Phone: (0363) 41393

Rai Beach Inn & Restaurant
Selayukti padangbaiStreet
Phone: (0363) 41385

The Grand Natia Hotel
Candidasa Street
Phone: (0363) 42006

Resort Prima Candidasa
Banjar Samuh Street 16
Phone: (0363) 41373

Rama Candidasa Hotel
Candidasa Street
Phone: (0363) 41904

BANGLI

Tirta Amerta Hotel
Toyabungkah Street
Phone: (0366) 52029

Surya Hotel Bar & Restaurant
Kintamani Street
Phone: (0366) 51139

Puri Bening Hayato Hotel
Toyo Bungkah Street
Phone: (0366) 51234

Segara Hotel
Kintamani Street
Phone: (0366) 51136

Nyoman Mawa Hotel
Toyo Bungkah Batur Tengah Street
Phone: (0366) 51166

Arthasastra Hotel
Merdeka Street 6
Phone: (0366) 91179

NEGARA

Sari Hotel
Penginuman Gmk Street
Phone: (0365) 61186

Nugraha Utama Hotel
Jend Sudirman Street 12
Phone: (0365) 41225

Indra Loka Hotel
Jend A Yani Street 15
Phone: (0365) 41472

Ijo Gading Hotel
P Diponegoro Street
Phone: (0365) 41023

Taman Sari Hotel
P Diponegoro Street 18
Phone: (0365) 41154

Sari Beach Views Hotel
Pogot Gilimanuk Street 333
Phone: (0365) 61264

Wirapada Hotel
I Gusti Ngurah Rai Street 107
Phone: (0365) 41161

TIS Hotel
Jend Gatot Subroto Street 29
Phone: (0365) 41034

SINGARAJA

Sentral Hotel
Jend A Yani Street 48
Phone: (0368) 21896

Sakabindu Hotel
Jend A Yani Street 104
Phone: (0368) 21791

Bali Paradise Hotel
Kartika Street
Phone: (0368) 41431

Bali Padang Lovina Hotel
Kalibukbuk Street
Phone: (0368) 41302

Bali Lovina Beach Cottage
Pantai Lovina Street
Phone: (0368) 41285

Puri Bagus Hotel
Pemaron Street
Phone: (0368) 25542

Niaga Hotel
Jend A Yani Street 8
Phone: (0368) 21907

Aldian Palace Hotel
Lovina Pemaron Beach
Phone: (0368) 23549

Adirama Beach Hotel & Restaurant
Lovina Street
Phone: (0368) 42071

Putri Sari Hotel
Seririt Street
Phone: (0368) 25519

Pusaka Hotel
Jend A Yani Street 12-A
Phone: (0368) 21717

Hawa Ina Hotel
Jend A Yani Street 194-A
Phone: (0368) 29606

Baruna Beach Cottages
Lovina Beach Pemaron Street
Phone: (0368) 23745

Bali Handara Country Club
Pancasari Street
Phone: (0368) 22646

Puri Manggala Hotel
Singaraja Seririt Street
Phone: (0368) 41371

Puri Bali Hotel
Kalibukbuk Street
Phone: (0368) 41485

Cendrawasih Hotel
Jend A Yani Street 21
Phone: (0368) 21891

Celuk Agung Hotel
Anturan Lovina Street
Phone: (0368) 41039

Joged

2008-07-25T22:26:00.000-07:00

text by Ari Mustikawati
images courtesy of Ida Bagus Indra

You are born and raised in Bali. I was born in Denpasar 9th May 1974 into a Brahman family with a cartoonist father who later developed his business interests in Bali’s thriving tourism industry. As the Brahman is the top caste in the Hindu belief system I was living among the high priests and other holders of Balinese scriptures, who shaped me into who I am right now: a Balinese person who is fascinated by my own culture as a heritage from our Gods and Goddesses.

How has your work matured so significantly over recent years? I used to describe my work as a form of naughty humour mingled with romance. But now, I identify my work as surrealism and expressionism. The element of surrealism is reflected in my choice of objects I use for my paintings – objects from the world of niskala – the intangible world. Expressionism is more the styles and techniques I employ.

Where do you draw your inspiration from? Primarily from my interaction with niskala during meditation - such as dialogues with the objects of my paintings. I find inspiration comes from everything I see, touch and feel. My series of work ‘Joged’ has been inspired by my wife and the colourful, highly traditional clothing she wears as she dances.

Tell us about Joged. In Indonesia Joged is a folk dance - usually related to earthly rituals. In earlier periods, Joged was regarded as a traditional rhythmic dance performed by groups of women, each choreographing their routine to a dynamic pulse of drumming for the amusement of the king. In my paintings Joged is a representation of colour and dynamism. In ‘The Blue Thunder’ I decided to focus on the momentum of the dance and achieved a heightened sense of dynamic movement by presenting a snapshot of a Joged dance on several narrow canvases. When you link them together the dance forms, sort of like a strip of film.

Do you still call Denpasar home? I call my studio Griya Telabah and yes, it’s in Denpasar on Jalan Tharin where I also built my house, as I want to be close to my wife and children as much as possible. As an artist I can call every spot in this universe my studio, anywhere I find inspiration really!

You have exhibited around the world, but where did it start? My solo exhibitions began back in 2004 at the Lynne Wilton Gallery Australia, then Bali the same year. I also exhibited in Jakarta, the Kufa Gallery in London then Germany, Singapore, and Malaysia. Joged is currently exhibiting at Museum Rudana (Jl. Cok Rai Pudak 44 Peliatan Ubud).

You must have received a lot of international interest in your work over the years. I began my professional career in 1994. After my work sold out to private collectors and galleries throughout Indonesia I decided to move to Melbourne, that was in 2003 following some top recognition at the 2003 Indonesia Art Awards Festival. There, I was labelled one of the Republic’s leading artists which paved my way for exhibiting overseas.

Can we still buy your artwork in Bali? Of course, at Rudana Fine Art Gallery (Jl. Cok Rai Pudak 44 Peliatan Ubud) for my Joged work, or in my studio at Denpasar.

Future plans? After JOGED, I want to concentrate on the preparation of my next exhibition called Kamasutra. It will be an adaptation of the ancient Indian folk tales about love and eroticism and will be shown at the Ganesha Gallery in the Four Seasons Resort later this month.

resource :
http://www.hellobalimagazine.com

Tanah Lot - Natural beauty, history, and legend

2008-07-25T22:12:00.000-07:00

text by I.B. Andi Sucirta

Pura Tanah Lot is located in Beraban village, Kediri subdistrict, Tabanan regency, just a 30-minute drive from Kuta. Facing west, it offers a lovely view, especially in the late afternoon, with the temple in dramatic silhouette as the sun sets in the Bali Strait. There are always visitors, both domestic and foreign, and it’s even busier in the afternoons and during school holidays.

Tanah lot

The temple, Pura Tanah Lot, owes its existence to a religious leader from the Javanese kingdom of Majapahit in the late 15th century: Danghyang Niratha, also called Danghyang Dwijendra, and known in Bali as Ida Pedanda Sakti Wawu Rawuh. The temple was originally a sacred site where local people came to worship God as the master of the ocean, seeking safety and success for their work as fishermen. It became better known after Danghyang Niratha came to meditate there. Beraban village was suffering an epidemic at the time, and the holy man’s presence was a blessing for them; with his religious/magical powers, he helped the community recover, and from then on, he provided them with religious guidance, as well as instruction on right livelihood in farming and fishing. From this relationship between the community and the holy man, this place of worship was no longer solely for the people of Beraban village but came to be used by everyone throughout Bali. Since then, Pura Tanah Lot has been considered one of the Sad Khayangan, the six temples of the world.

Another legend about this temple states that the coral rocks were placed in the sea by Danghyang Niratha using his spiritual powers. He then named it "Tengah Lot," meaning land located in the sea. Still according to the same legend, he then transformed the scarf he was wearing into a black-striped sea snake to protect the holy place. All these miracles were meant to demonstrate his sincerity in serving as a religious guide to the community. Whether the legend is true or not, black-and-white striped sea snakes are still found in the coral caves around Tanah Lot.

connecting wall to reach Pura Batu BolongLeaving Kuta, I headed west through Canggu toward Tanah Lot. The road was in much better condition compared with the last time I went. The many terraced rice fields on both sides of the road provide a green and refreshing view. Thirty minutes passed in no time at all, and I was at the entry gate to Tanah Lot. The area has all the tourist facilities we have come to expect: plenty of parking space, toilets, restaurants, souvenir shops, stalls selling traditional snacks, and so on.

One thing I never skip whenever I visit: buying the traditional snack called kelepon from the vendors near the entry gate. Kelepon are small green balls the size of quail eggs, typically served with grated coconut. The balls are made from rice flour, naturally colored with suji leaves, and have a hidden surprise: a blob of liquid palm sugar in the middle. Biting into kelepon and discovering the sweet treat inside is addictive; you can buy a serving of these for just Rp 1000 to Rp 3000.

When the tide is in, Pura Tanah Lot looks like a ship floating on the sea, with the artistic patterns of the rock carved by the waves. Those who come to pray generally prefer to use the space on the beach, rather than crossing over. But occasionally, a few try to make it to the rock, relying on a rope tied to the coral. They are usually supervised and helped in this by the traditional security personnel, or pecalang. Treading cautiously through the water and watching out for incoming waves, these pilgrims seem delighted with their brief crossing.

After traveling around a bit, I returned to Pura Tanah Lot. The day was drawing late and the venue becoming more crowded. The tide was out, so both locals and tourists could now approach the temple more easily. I took this opportunity to view the black-and-white snakes that are part of the Tanah Lot legend, in the caves near the rocks. I saw a number of people placing offerings and handling these tame holy snakes under the supervision of a pawang ular.

Queuing up to pray at Pura Tanah LotThese snakes are actually highly venomous, so they should never be disturbed or handled except under the supervision of an expert. At another part of the coral rock below the temple is a freshwater spring, a source of holy water for the Hindu faithful.

In the afternoon, huge numbers of local people swarm toward the temple to pray. The space for praying at the top of the temple is quite small, so people have to take turns. Walking along the narrow, high rocky path to the top, the worshippers queued in an orderly fashion. As the sun slowly sank on the western horizon, the tourists were entranced by the play of colors of Tanah Lot at dusk. When there was just a glimmer of light remaining in the sky, I set off for home, with fond memories of natural beauty, the temple itself, and the devotion of the local people. I will surely come again; the beauty of Tanah Lot is like a tremendous magnet that attracts everyone who visits, including me.

resource : http://www.garudamagazine.com

Bali Wayang, the Puppet Theater

2008-07-25T09:05:00.000-07:00

Wayang means traditional puppet. It is spread over most of Indonesia as a theater show since a long time ago. Based on old manuscripts in Bali, Wayang has been performed around the ninth century. This puppet is mostly performed to entertain, but some Wayang are only performed in ritual ceremonies. Balinese Wayang can be divided into two types; Wayang Kulit and Wayang Wong.

Wayang Kulit
Wayang Kulit is made from stiffly tanned hide mounted on handles of horn or bone, each cut out in its characteristic shape and pierced with a fine lace-like pattern that allows the lamplight to reveal details of face and dress. The arms joined at the shoulders are manipulated with great expressiveness. Wayang Kulit movements are controlled by a puppeteer called Dalang. It is usually accompanied by traditional music instruments called Gender Wayang.

Based on the show time, there are two types of Wayang Kulit; namely Wayang Peteng and Wayang Lemah.

Wayang Peteng is performed in the evening only for entertaining. It is also known as a shadow theater. Wayang Peteng is performed behind a white flat screen (made from stretched cloth) which is lighted by a traditional hanging oil lamp. The Dalang (puppeteer) manipulates all the Wayang movements and also Wayang voices behind the screen. A Dalang must have ability to change their voice depending on which Wayang character, so the conversations among the characters look real. Wayang Peteng viewers watch the show in front of the screen. Though viewers can only see the shadows of puppets (the puppeteer not visible through the screen), it does not decrease the interesting aspect of the show. Wayang Peteng usually takes local stories, such as children stories, comedy, or even social-politics and bringing in many moral messages. Therefore, this puppet theater is often used as a traditional educational media.

Another type of Wayang Kulit is Wayang Lemah. Unlike Wayang Peteng which is performed in the evening, Wayang Lemah is performed in the morning or afternoon. Wayang Lemah can be categorized as a sacred show, because it is only performed in big ceremonies and tells stories about God or histories of a ritual. In Wayang Lemah it is not too different than Wayang Peteng, both having movements and voices handled by a Dalang (puppeteer) and accompanied by Gender Wayang (traditional music instrument), but in Wayang Lemah it is performed without a screen. The viewers can see the puppets and Dalang clearly. This show is believed to be able to protect a ceremony celebration from evil influences.

Wayang Wong
The name of Wayang Wong is taken from words Wayang and Wong. The word Wayang means puppet and Wong means human, so Wayang Wong means humans portraying as puppets. Wayang Wong looks like a Mask Dance. The dancers use masks which reflect characters in its story. In this dance, there are conversations among the characters. The difference between Mask Dance and Wayang Wong is about the story told. Unlike Mask Dance which mostly takes a story about history of a ceremony, Wayang Wong takes it story from the Babad just like Wayang Kulit. It also takes stories from the Ramayana and Mahabarata. Wayang Wong is rarely performed because it can only be performed by special dancers. The dancers are chosen by local priests through a ritual. The famous villages which perform Wayang Wong regularly are Tejakula (district of Singaraja), Sukawati & Mas (district of Gianayar), Marga (district of Tabanan), and Bualu (Badung).

Bali Dance

2008-07-25T09:04:00.000-07:00

Traditional Balinese dances are the oldest form of performing arts in Bali. Traditional dances can be divided into two types, sacred dance called Wali and entertainment dance called Bebalihan. Wali (sacred dance) is usually performed in some ritual ceremonies only because it has strong magical powers and only can be performed by specific dancers. Bebalihan are usually performed in social events. In addition to entertain, Bebalihan also has other purposes such as: welcoming guests, celebration of harvests, or gathering crowds. Bebalihan has more variations than Wali.

WALI (Sacred Dance)

Pendet Dance
The original Pendet dance is performed by 4-5 young girls (before their puberty) in temple yards. Pendet dancers bring flowers in small Bokor (silver bowls for keeping flowers in a ceremony). They spread the flowers around the temple. This dance is a symbol of welcoming God in some ritual ceremonies in Bali.
Pendet actually has simple dance movements. These movements are the basic dance movements of Balinese dance. Pendet has undergone later development with variations and now is not only performed in ritual ceremonies but also in some social events. Pendet since has been known as a welcoming dance.

Rejang Dance
Another sacred dance for welcoming God in ritual ceremonies is Rejang. Like Pendet, Rejang is also strictly performed by females. The number of Rejang dancers is more than Pendet, over 10 dancers. Rejang dancers make long lines which surrounds the temple. The leader brings holy water called Tirtha which is spread around for purifying the temple. Depending on the cloth used by the dancer, Rejang can be divided into: Rejang Oyopadi, Rejang Galuh, and Rejang Dewa. Rejang can only be found performing in some ritual ceremonies in Bali.

Sanghyang Dance
Sanghyang dance is an inherited form from pre-Hindu culture which is still preserved in some places in Bali. This dance is believed to be potent of curing illnesses. The dancer has the ability to communicate with divine natural powers; performed by male and female trance dancers. This dance is accompanied by a song called Gending Shangyang, and in Sukawati this dance is also accompanied by the traditional Balinese instruments. Gending Sanghyang is believed to summon the powers of nature.
There are three steps in this dance, called Nusdus, Masolah, and Ngelinggihang. Nusdus is the first step in Sanghynag dance. In this step, the dancer’s soul is cleared by using holy smoke so they can communicate with the powers of nature. The second step is called Masolah. This step is when the powers have entered the dancer’s body. The dancer will move naturally in trance. The closing step is called Ngelinggihang. In this step, the natural powers have left the dancer’s body and the priest sprinkles holy water on the dancer. There are six types of Sanghyang dances, they are: Sanghyang Dedari, Sanghyang Deling, Sanghyang Bojog, Sanghyang Sampat, Sanghyang Celeng, and Sanghyang Jaran.

Tari Topeng (Mask Dance)
Originally Tari Topeng / Mask Dances in Bali are sacred, even at this time the creativity of Balinese dancers has developed Mask Dance to entertain as well. The sacred Mask Dances are usually performed by a single dancer or a group of male dancers in large ceremonies. They have a purpose for telling viewers about the historical background of why a ceremony must be held or to deliver Hinduism wisdom through simple conversation among dancers. It is also believed that it can protect a ceremony from evil interferences. The famous sacred Mask Dance is Topeng Pajegan.
Topeng Pajegan was based on a legend about an old priest named Sidhakarya. Sidhakarya actually is the brother of the king of the Gelgel kingdom who hailed from Java. He was chased away by the king of Gelgel (kingdom located in district of Klungkung) without clear reason. Before he left Klungkung, he cursed the king that every ritual ceremony proposed by the king will not run well. It became true. Finally the king realized his mistake and tried to apologize. For respecting the priest and neutralizing the curse, a mask dance must be performed before a ceremony is started, the Topeng Pajegan. So that is why Topeng Pajegan is always performed prior a big ceremony.

Topeng Pajegan is only performed by male dancers who use some masks. The main mask is called Sidhakarya. This dance tells us about Sidhakarya’s journey to Bali until he met the king and was chased away. Balinese people believe that the mask is the same as the Sidhakarya priest’s face. This dance is also believed to cure illnesses.

BEBALIHAN (Entertainment Dance)

Creativity of Balinese artists makes the development of Bebalihan in Bali to never cease. Many new Bebalihan are created yearly or even monthly. These dances are categorized as Kontemporer or contemporary dance and usually performed in social events. Below are some classic Bebalihan usually performed in local or international events.

Baris Dance
The name of Baris was taken from Balinese word Bebaris which means groups of soldiers. This dance describes Balinese soldiers in the warring arena. The dancers hold weapons, such as: Tumbak (spear), Keris (dagger), etc. for supporting their soldier characters. Baris dance is performed by 8-40 male dancers. According to the different weapons, clothes and accessories, Baris has variations, such as Baris Tumbak, Baris Panah, Baris Tamiyang, Baris Bedil, Baris Jangkang, etc. This dance is often performed in many social events in Bali. Baris Gede is only performed in ceremonies. This dance is performed by a boy (before puberty). Baris Gede belongs to sacred dance and has purposes like Rejang.

Barong Dance
Barong looks like a big puppet moved by 1-2 people. Barong was born by mixing Balinese and Chinese culture from around the 11th century. The shape not too different from the Chinese Barong Sai, the Balinese Barong mostly takes animal shapes, such as: Barong Ket (lion), Barong Macan (tiger), Barong Bangkung (pig), etc.
In development times of the Barong in Bali, it is performed as a dance which mostly takes its plot from Hindu legend in Java called Calonarang. This dance is symbol of the balancing positive and negative powers called Rwa Bhineda. Barong dance looks like a drama but without conversation and has two main characters; Barong Ket (symbol of positive power) and Rangda (symbol of negative power).
The main point of Calonarang is a battle between a priest and his student against a queen, who has evil powers, and her soldiers. The priest changes himself into a Barong Ket to battle against the queen who changes herself to be a monster called Rangda. Some characters in Barong dances use masks. These masks are believed to have spirits and usually get an offering by the dancer before the show starts. You will see dancers in trance in this dance, especially when the students of the Barong attack Rangda by their unsheathed keris. The amazing fact is that the dancers do not bear marks and are unwounded.

Belibis Dance
Belibis is another welcoming dance. It is performed by 5 or more girls in beautiful costumes. The movements are adopted from swan movements, thus it is also known as the Swan dance.

Gebug Ende Dance
Gebug Ende is from the district of Karangasem. This dance is performed by 2-16 male dancers. Every dancer wields a shield, made from rattan, called Ende and a rattan stick. They dance while hitting the Ende (shields) of the other dancer by rattan sticks. Gebug Ende means ‘hitting the Ende’.

The dance is quite unique as it has certain rules that have to be followed by the participants. Led by a referee, this dance starts with two dancers, while the rest sit in a circle, cracking jokes and singing, while waiting their turns. The jury decides 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 off the stage from the blows of the rattan sticks. Bruises and wounds are common.

A long time ago, Gebug Ende was performed to call for rain. Now this dance has become a very unique entertainment not only for locals, but also foreigners.

Ghopala Dance
Ghopala has the purpose of thanking God for a good harvest. It is usually performed by 5 or more couples in the harvesting month. The male dancers will take place first and after some minutes followed by female dancers. Ghopala dance movements are very unique, relaxed, and funny. At this time Ghopala has become one of the favorite entertainment dances in Bali and is often performed in social events.

Janger Dance
Janger dance is an entertainment dance performed by the Balinese youth. It tightens relationship among them. Janger is performed by couples in social events, such as: wedding parties, celebrations of harvest, etc. Dancers not only dance but also sing. It is accompanied by melodious music instruments called Batel / Tetamburan which makes for a very merry scene. Every place in Bali has their own style of the dance which makes it different among them.

Jegog Dance
The name is taken from the bamboo instrument which accompanies the dance called Jegog. Jegog comes from district of Jembrana. Jegog is performed by a female dancer and accompanied by the sounds of a Jegog (a bamboo instrument). The beautiful movement and melodious instruments make this dance performed not only in social events around Jembrana, but also in other places in Bali, such as Denpasar, Klungkung, and Gianyar.

Joged Dance
Joged is among the favorites, where one or more female dancers are accompanied by bamboo instruments. Unlike Jegog which is performed by female dancers from the beginning until the end of the performance, joged dancers usually invite male audiences as their partner even they are not dancers. Do not be worried when you are chosen by the dancer because you have not to be an expert to accompany their moves.

Kecak Dance
Kecak Dance has been regarded as a fantastic performance in Bali since a long time ago, not only by Indonesians but also many people around the world. Kecak is performed by a group of male dancers and usually performed in the evening. Kecak dancers sit on the ground surrounding a big torch while singing. They sing as though Balinese instrument sounds and are not accompanied by any music instruments whatsoever. The movements only use the hands and head.

Kecak was performed for the first time in 1930 as an entertaining pastime dance among Balinese males. At that time, Kecak were only played in small celebrations such as during the harvest month or village anniversary.

The development of drama in Bali, especially Sendratari, brought a changed to this dance. Kecak and Janger dances started to enter Sendratari’s scene which mostly performs classical stories such as Ramayana and Mahabratha. It is now usually performed regularly at Tanah Lot (in the Tabanan district) and Batubulan (Gianyar district). Kecak dance is also performed in many national and international events held in Bali.

Legong Dance
Legong dance is a very classical entertainment and welcoming dance. The name was taken from the word leg meaning ‘beautiful movements’ and Gong meaning melodious sound from the traditional Balinese music instruments. Therefore, Legong means beautiful movements accompanied by instruments. This dance is one of the most difficult dances to learn because it has very complex movements and the dancer should have sensitivity to Gong sounds.
Legong dance is performed by female dancers, usually consisting of three dancers. Legong dancers wear luxurious costumes. They are accompanied by special Gong called Gamelan Semar Pagulingan. Gamelan Semar Pagulingan is smaller than the other traditional instruments and has specific sounds.

The development of Legong dance made way to some new dances which have the same basic movements plus different variations of movement, such as: Andir/ Nandir (district of Tabanan) or Sahyang Legong (Ketewel village located in the district of Gianyar). The famous one is Legong Keraton. This dance is often performed to greet special guests who come to Bali.

Mekare-Karean/ Pandan War
Makare-karean is also known as Pandan War. It is a combination between dance and ritual. It is performed in Tenganan village only (a traditional village in district of Karangasem) during the village temple anniversary. This old tradition has the purpose for invoking bravery among male youth of Tenganan and respecting the temple God.
Mekare-karean is performed by male dancers using thorny pandanu leaves and rattan shields as their main gear. Before performing, the dancers undergo some ritual to ensure they will be all right during the show. The show is started by the groups of young men surrounding the dance arena where an older man as an umpire is ready. Then, two young men, who bring the thorny leafs and rattan shields, take stance in the arena. Next, they attack one another. There is no winner or loser in this battle. The umpire will stop the action when the one’s body has bled. This process is continued until all dancers have got the chance.

Even though they bleed, they never feel hurt. They will be healed by traditional medicine made from turmeric. The medicine is usually prepared by the females. If you want to see this dance, you must go to Tenganan village around the months of June-July.

Mresi Dance
Mresi is another dance which comes from the Tenganan village. This dance is performed by male dancers who have not married yet. Mresi dance is believed to help the dancer find his soul mate. The dancer brings Keris (dagger) as symbol of courage and power. Mresi is accompanied by special instruments called Gamelan Selonding. The combination of dance movements, Keris, and sounds of Gamelan Selonding make this dance look masculine.

Oleg Tambulilingan Dance
Oleg Tambulilingan is an entertainment dance created by Balinese artist Mario in 1952. This dance is one of the couple dances which have very beautiful movements. Oleg Tambulilingan was inspired by a couple of bumblebees flirting in a flower garden. Tambulilingan means bumblebee in English.

The show is started with a female dancer in beautiful costume entering the stage. After several minutes, the male dancer enters. This dance has a long duration and is accompanied by melodious sounds of the Gamelan. Oleg Tambulilingan is often performed in formal events in Bali.

Puspanjali Dance
Puspanjali was created in 1989 by two Balinese dancers; Swasthi Wijaya and I Nyoman Windha. Puspanjali is one of the welcoming dances which has dynamic and beautiful movements. The name Puspanjali was taken from the word Puspa meaning flower and Anjali meaning respecting or greeting. Thus, Puspanjali means ‘greeting with flowers’. This dance is performed by 5-7 female dancers. The dancers bring flowers in Bokor or flower garlands which will be given to the guests in the end of the dance sequence. If you are invited in some events in Bali you may be able to see this dance.

Bali Music

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Traditional Balinese Song

Traditional Balinese songs are called Tembang. Tembang is one of oldest arts in Bali and has been a strong part of Balinese culture. Some Tembang were sung by Balinese before the coming of Hindu-Buddhist cultures, such as Kuskus Arum, Suaran Kumbang, Puspa Pangan Jali, etc. Mostly Tembang in Bali contain many moral messages for education. Based on the structure and function, Tembang can be classified into Gegending, Pupuh/ Sekar Alit, Kidung/ Sekar Madya, and Kekawin/ Sekar Agung.

Gegending
Gegending is the simplest. It has short sentences, simple dictions, and very clear meanings. The song does not have any rules on how to sing it like the others. Mostly Gegendingan is used in children games or dances which have purpose for bonding among Balinese youth, but a type of Gegending is also used for accompanying sacred dances. Based on when Gegending is used, it can be divided into Gending Rare, Gending Jejangeran, and Gending Sanghyang.

Gending Rare are children songs. These songs are usually used for accompanying traditional children games. It is used to educate children about etiquette. The popular Gending Rare are Meong-meong, Juru Pencar, Galang Bulan, and Indang-indang Sidi.
Gending Jejangeran is a cheerful song which accompanies Janger Dance. This song is sung by group of female and male dancers during the dance.
Gending Sanghyang is a song which accompanies sacred dances, such as: Sanghyang Jaran, Sanghyang Dedari, etc. This song precedes Hindu-Buddhist cultures. The famous Gending Sanghyangs are: Kuskus Arum, Suaran kumbang, and Puspa Panganjali.

Pupuh / Macepat / Sekar Alit
Pupuh/ Macepat/ Sekar Alit are Balinese traditional songs which has a main rule called Padalingsa. Padalingsa consist of Guru Wilang and Guru Dingdong. Guru Wilang is a rule which arrange how many words should be in a row and how many rows in a song (Pupuh). Guru Dingdong is a rule which arrange the last vocal in a row. Pupuh is used for expressing one’s feelings or giving advice to the younger. This traditional song is sung in mostly Balinese life. So that is why Pupuh has many variation themes. Pupuh is classified based on the feeling of the singer and its intonation, seen below.

Intonation	Singer feeling	Name of Pupuh
Normal	relaxed & peaceful	Pucung, Mijil, Sinom Lawe, and Ginada.
fast & high	Happy	Adri, Megatruh, Ginada Basur, and Sinom Genjek.
slow & low	sad & disappointed	Semarandana, Maskumambang, and Demung.
normal & very high	Angry	Durma and Sinom Lumrah.

Kidung / Sekar Madaya
Kidung/ Sekar Madya is usually sung in ceremonies in Bali by a group of people and accompanied by Gamelan. Kidung themes are mostly about prayers of adoration. Kidung came to Bali from Java around the 16th – 19th century. It seems to derive from Old Javanese (Jawa Tengaan/ Kawi) which is used in some Kidung. After Kidung arrived in Bali, it was affected by Balinese culture. This influence is evident in the Kidung structure in Bali, which consists of Pangawit (opening part) and Pangawak (main part), which is not found in Java. Some famous Kidung in Bali are Wargasari, Sudhamala, Sidhapaksa, and Alis-alis Ijo.

Kekawin / Wirama / Sekar Agung
Kekawin is actually life philosophies and other Vedic lessons delivered to people through songs. Similar to Kidung, Kekawin is also sung in ceremonies. Kidung are in Sanskrit. It requires the singer to be able in the language. Kidung is usually sung by two singers. The first singer sings Kidung in its original language, sentence by sentence. After the first singer finished a sentence, the second singer will translate it into Balinese. This action will be done until the end of the Kekawin lyric. Some famous Kekawin in Bali are Saronca, Tanukerti, Girisa, Wirat, and Puspitagra.

Traditional Music Instruments

The arts of playing traditional music instruments in Bali are called Gamelan. Gamelan is also the term applied to a set of traditional music instruments played in most Balinese songs and dances as accompaniment. A Gamelan consists of percussion, metallophones, and traditional drums. It is mostly made from bronze, copper, and bamboo. The variations are due to the number of instruments used. Instruments in a common Gamelan ensemble are as follows:

Ceng-ceng is a coupled instrument for producing high intonations. Ceng-ceng is made from thin copper plates. On the center of each Ceng-ceng, is a handle made from rope or yarn. Ceng-ceng is played by hitting and rubbing the two. There are usually six couples of Ceng-ceng in a common Gamelan. There can be more depending on how high intonations are needed.

Gambang is a metallophone made from bars of copper in different thicknesses and lengths. These copper bars are rowed above a wooden beam which has been carved in several motifs. Gambang players hit the bars one by one depending on the intended intonation. The difference of thickness and lengths produce various intonations. In a common Gamelan there must be at least two Gambang.

Gangse looks like a wheel without a hole in its center. It is made from bronze. Like Gambang, a Group of Gangse is rowed above a carved wooden beam and played by hitting it with a couple of wooden sticks. Every Gangse in a row has different sizes, producing different intonations. Gangse is used for producing low tones. This instrument is dominant for slow songs or dances which reflect tragedy.

Kempur/ Gong is affected by Chinese culture. Kempur looks like a big Gangse which is hanged between two wooden poles. It is made from bronze and also played by using a wooden stick. Kempur is the biggest instrument in the Gamelan. It’s size is about a truck wheel. Kempur is used for producing low tones but longer than the Gangse. In Bali, to symbolize an opening of a national or international event, hitting the Kempur three times is typical.

Kendang is a traditional Balinese drum. It is made from wood and buffalo skin in cylinder form. It is played by using a wooden stick or using the palm of the hand. Kendang is usually played as the opening intonation in many dances.

Suling is a Balinese flute. It is made from bamboo. Suling is usually shorter than a modern flute. This wind instrument dominates as the accompanier in scenes of tragedy and slow songs which describe sadness.

In some places in Bali, bamboo trees are so easy to be found such as in Jembrana, Bangli or Karangasem. That makes way to the Balinese artists’ initiative to produce a new music instrument as accompanier for some entertaining dances; even though they still use Gamelan as the main ensemble. This unique instrument is called Rindik or known as Jegog in the district of Jembrana. Rindik or Jegog is a percussion instrument made from sticks of bamboo. The different sizes of bamboo are rowed from the biggest to the smallest. It is bundled by root ropes on the center of a big bamboo frame. Rindik/ Jegog are played by using a couple of special bamboo sticks. Jegog is played in many small social events because it is more practical to be brought anywhere than the Gamelan which is mostly made from metal. Besides, the cost production of Rindik/ Jegog is cheaper than Gamelan. At this time Jegog/ Rindik is played in many hotels and restaurant in Bali as entertainment.

The other unique music instruments which can only be found in the district of Tabanan are Tektekan and Okokan. These wooden music instruments were first found by farmers in Tabanan. Okokan is actually a wooden bell hung around the neck of the cows and Tektekan is a handheld instrument to make noises for scaring away birds from the ripening rice paddy fields. The rhythms of those instruments later became musical instruments for performances during many temple festivals or social events in Tabanan. At this time these have become strong characteristics of the traditional music art in Tabanan. Okokan and Tektekan festivals have become a member of the Bali Tourism Festivals regularly held each year.

BalI Drama

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Drama in Bali is usually derived from a local chronicle called Babad. Drama is estimated to first emerge in 1820. The art rose in the golden era of the Klungkung kingdom at the reign of I Dewa Agung Sakti. At that time, it is known in the form of Arja. Arja later developed into some drama forms in Bali, namely Prembon, Sendratari, and Drama Gong.

Arja
Arja is Bali’s oldest drama form, performed for the first time in 1820. The name was taken from Sanskrit, Reja, meaning ‘something beautiful’. This was due to the beautiful combination of dancing, singing, and traditional instruments used in this drama. Arja players usually don beautiful dresses decorated in gold, silver, and flowers.
Arja is performed not only for entertainment but also for education as there are many moral messages showed through this drama. Comedy, heroism, to the history of Bali can be expressed through Arja. The conversations among characters are done by using Macepat (traditional singing technique in Bali). There are three types of Arja according to the number of players and the traditional instruments used:

Arja Doyong: performed by one person without instruments.
Arja Gaguntangan: performed by two to ten persons with traditional instrument called Gaguntangan.
Arja Gede: performed more than 10 persons with traditional instruments.

New type of Arja rose around the 20th Century called Arja Muani. Arja Muani is performed by males only, even for the female characters in the drama. Arja Muani is performed for entertainment because the story only regards comedy. This type of Arja is the favorite among the Balinese, usually performed in most social events in Bali.

Prembon
Development of Arja and mask dances in Bali created a form of Drama called Prembon in 1942. Similar to Arja, this drama also shows stories from the Babad. The differences between Prembon and Arja seem from the masks used by the players. Arja players do not use masks, but in Prembon all the players wears masks. The masks aim to more explicitly express the character in Prembon, such as a king, common people, priest, etc. Though wearing masks, the Prembon players converse among them.

Sendratari
Sendratari is one of the drama forms in Bali which emerged around 1960. Like the other drama forms, Sendratari is also a combination of traditional dancing, singing, and instruments but this drama is closely associated with modern drama forms. Every scene is managed to portray clearly the characters (main character, second, antagonist, etc).
Sendratari was created by Balinese artist I Wayan Beratha, categorized as large drama because it is performed by 10-150 players. For the first time, Sendratari in Bali only told stories from the Babad but in later developments, Sendratari took every classical story in the world like Ramayana and Mahabaratha. Now, this drama can be viewed at the annual Bali Arts Festival, around June-July in Bali.

Drama Gong
Drama Gong is the youngest form of drama in Bali, estimated to emerge 6 years after Sendratari, around 1966. Drama Gong mostly brings comedy and is usually performed for entertainment. Unlike Sendratari which needs many players in luxurious dresses, Drama Gong is necessarily less in players and some use funny clothes or accessories. Drama Gong also has fewer scenes than Sendratari.
Drama Gong is performed in many social events in Bali. It has been one of the favorite shows among the Balinese. The golden era of was reached in 1980. Even as the popularity of drama slightly decreased, many groups still exist, such as: Drama Gong Bintang Bali Timur, Drama Gong Duta Budaya Bali, Drama Gong Dewan Kesenian, Drama Gong Dwipa Sancaya, etc.

Beliefs, Ceremonies, Cycles of Life and Rites of Passages

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(Source: Bali A Traveler’s Companion and Bali Tourism Information Book 2008)

Balinese beliefs & its history

Balinese Hinduism, a combination of Indian Shivaistic, Buddhist traditions and local customs dominates the daily lives of Balinese. Those many aspects involved during its one-millennium long evolution from the fifth till the sixteenth century make Hinduism of Bali tremendously different from that of India. Hinduism and Buddhism are believed to arrive in Indonesia from India around the 4th century, known from a Yupa stone ancient inscription found in Kalimantan. Both faiths bonded with local culture to form what it is known today as Hindu-Dharma.

Hinduism-Buddhism flourished all across the archipelago in the eighth century especially under the patronage of the Sriwijaya Kingdom in South Sumatra. The golden age continued until the Java’s Majapahit Empire sovereign from the beginning of the fourteenth century till the turn of the sixteenth century when Islam arrived and pushed the Hindu aristocrat family to migrate to Bali. Thus, current Hindu Dharma is a well-balanced mixture of the Indian values and the Java’s tradition well preserved on the island of Bali.

Cycles of Life in Balinese Belief

Existence, according Balinese Hinduism, is a continuous cycle of birth, life, death, and rebirth until one’s soul is purified and thus unified with the God. You won’t be surprised to hear a Balinese says “My nephew is my grand mother reborn” and et cetera. Rebirth or incarnation, called Punarbhawa/Samsara, is one of the five chief principles of Hinduism, aiming to get Moksa the perfection and holiness of the soul so that it can be accepted in the realm of the God.

Balinese believe Moksa can be reached through four corridors, Brahmacari, Grehasta, Wanaprehasta, and Bhiksuka. Those steps have their own purposes. Brahmacari is the period for gaining knowledge as much as one can, then continued by Grehasta; period for building a good marriage without leaving knowledge, Wanaprehasta is the period for starting to leave the secular world, and finally Bhiksuka is time when one has succeed in leaving secular world and using his knowledge to help others. Before someone reaches the fourth step, s/he won’t be able to reach the perfection and holiness, and instead would go through the first step again.
Balinese people believe in the paternal system. When a woman delivers a baby, most Balinese believe that it is the reincarnation of the male ancestral. Some also believe that the baby can be from an reincarnation of the female line or even an animal. Because when an animal is sacrificed for a ritual ceremony, its soul is uplifted to be a human’s.

Ceremonies and Rites of Passages Reflects the Island of the God

In Bali, there is no single day without a ceremony. It is an obligation for human to promote balance relations among human, gods and nature. Those principles are materialized through a whole-heartily sacrifice, called Yadnya. Yadnya can be a very simple thing like giving a slice of one’s sausage to a wandering dog, or just cleaning up plastic rubbish in a temple area. Yadnya, or giving away, is the root of most ceremonies in Bali.
There are five obligations, or Panca Yadnya. Dewa Yadnya aims at thanking to the God, Pitra Yadnya to respect the ancestors’ souls, Manusa Yadnya aims at cleaning human souls, Rsi Yadnya is held when someone want to be a priest and Bhuta Yadnya aims for thanking to nature and balancing their positive and negative powers. Those Yadnya are reflected through ceremonies, but Dewa Yadnya is reflected through ceremonies more than the others.
Those hundreds of ceremonies regularly held anywhere on the island each is based on one of the Panca Yadnya. Different traditions from one village to another create more variations among places in Bali. Following are some of the most important:

MELASTI
Melasti, a Dewa Yadnya ceremony, aims at clearing some temple equipments and keeping their holy spirit. Melasti is usually held one day before Nyepi/ silent day one of Hindu’s holy day in Bali. Balinese people do a small parade from their temple to the sea, carrying the temple equipments to be cleansed in the waters and return them to the temple for a prayer.

NGABEN
A Pitra Yadnya ceremony, ngaben cremation has been a famous tourist attraction for a long time. This ceremony is held by the family members when they lost one of their relative, aiming at cleansing one’s soul so that it will be unified with the God. Ngaben is a very significant, month-long prepared ceremony. In Bali, each cremation take all the village members to work together to help the family administering the whole processes of the ceremony, and therefore such a ceremony often turns into a very big happening. Tourists often are attracted when the body is put in big chest and carried by 15-50 healthy men from the house through to the grave yard. The chests take several shapes such as Lembu (Balinese ox), Gajah Mina (a big fish with elephant head), or Singa Mangaraja (a lion with two wings). Those imitated animals are believed as God’s holy animals. At the grave yard, the dead body and the chest is set on fire. This process symbolizes the return of the souls to the holy state to the God. Ngaben procession ended with the ash of dead body thrown to the nearby seawaters.

MECARU
Mecaru is one of interesting ceremony belonging to Bhuta Yadnya ritual. It aims at balancing the nature’s positive and negative energies. In Bali, the accepted concept is that there should be a balanced relationship among the negative and positive powers to maintain a harmonious world. Mecaru can be divided into some levels, and the higher one is called Tawur Agung. For more detail about where, when ritual ceremonies are held in Bali, you may click on Village Ceremony in this website.

There are three main instruments Balinese apply in a prayer, Bunga (flower), Dupa (incense), and Tirtha (holy water).

Bunga
Bunga, flower, is the symbol of respect to the almighty. There are some restrictions of flowers allowed to be used. (1) Such a flower should not grow up in grave yard. (2) It must be fresh. (3) Such a flower is not stayed by bugs or another small insects. (4) No Coconut flower or meduri may be used. A coconut is instead widely used in other ceremony because it has been filled with holy water.

Dupa
Dupa, incense, is the second main tool in Balinese ceremony which has function as witness of a ceremony. Besides, Dupa is symbol of Agni, the God of fire. Unlike Chinese, Balinese incense has smaller size and it is only in stick shape.

Tirtha
Tirtha is holy water which is sprinkled before and after ceremony. The name and function of this holy water is depending the ceremony itself, so that is why there are many name and function of Tirtha. There are two types of Tirtha which is always found in a ceremony. The first one is Tirtha Pelukatan. This holy water is applied as soul cleanser before one enter a temple or start ceremony. Tirta Pelukatan is sprinkled by the temple priest to all people before starting a ceremony. In some place in Bali when the temple ceremony held Tirtha Pelukatan is put inside big earthenware in front of entrance door and stained by the people themselves. The second Tirtha is called Tirtha Wangsuh Pada. This holy water is sprinkled after a ceremony is finished as a symbol of God blessing to human.

F ood & Drink

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FOOD

Bali has many kinds of traditional food which are tastefully spicy as they are remarkably varied. The local food still is the main dish amid the arrival of the international fare brought by the tourism. Balinese still keep their traditional taste buds especially in a temple ceremony, Balinese birthday Otonan, or when hosting special guests. Hardly true Balinese food is served in many international restaurants due to its complicated and long hours to prepare.. Here are some of the most popular:
(Source: Bali Tourism Information 2008 book published by Bali Government Tourism Office)

Traditional Dishes

ARES
Ares, or jukut ares, is a dark yellowish soup made from a stem of a banana trunk. It is cut into very small pieces and mixed with hot spices. Some are mixed with pork ribs or duck wings. Ares can be found in many food stall in traditional markets or a Balinese restaurants.

BE GULING
Be Guling is a full-body roasted suckling piglet favored by a large number of Balinese. This dish is usually prepared for a temple ceremony or in a Balinese birthday party called Otonan. Be Guling can also be found in many restaurants which serve Balinese cuisine. The famous one is Be Guling Gianyar.

BEBEK BETUTU
Bebek Betutu is a steamed duck with spices and vegetables wrapped in banana leaf. Betutu is naturally less spicy compared to other local food. Chicken betutu is a popular alteration and is getting acceptant in recent years. One famous restaurant is Bebek Bengil Restaurant in Ubud.

BRENGKES / TUM
Brengkes, also known as tum, is one of the favorite steamed dishes. A combination of chopped pork, chicken, or duck, young jackfruit, coconut, and star fruit leaf, wrapped in banana leaf and steamed only for several minutes. Brengkes is widely available traditional markets around Bali as well as in any restaurant serving Balinese cuisine.

JUKUT URAB
Jukut Urab is a favorite no-meat dish. It looks like a vegetable salad with traditional dressing. The dressing is a combination of scrapped coconut, spices and a little bit of coconut milk. Brown sugar is often added to give a sweet taste to the dressing. Fits for a vegetarian. Jukut Urab can be easily found in every Balinese household as well as in many modern restaurants.

KOMOH
Komoh is a traditional thick soup made from a combination of pork chop, fresh chicken or pig blood and little bit water cooked in a small pan. Best served when it is hot. Komoh only can be found in some areas in western and northern Bali when people celebrate Penampahan Galungan, one of Hindu’s auspicious days.

LEMPED / PESAN
Lemped, also known as Pesan in some parts of Bali, is for sea food lovers. Salt or fresh water fish is wrapped in banana leaf and grilled in a few minutes. Those who opt for more spicy taste add more chili into the ingredients. Others serve Lemped with a traditional sauce called Sambel Matah. Lemped can be found in many traditional beach-side food stalls. Warung Made in Kuta, food stalls on Pantai Lebih in Gianyar, and Warung Merta Sari in Pesinggahan, Klungkung, are often referred for their tasty lemped.

SATE
Sate, grilled skewered meat, is one of the most famous traditional dishes favored by a large number of Balinese. Pork, chicken, duck, beef, or fish, the list goes on. Every parts/ villages in Bali have their own characteristic in serving Sate, the traditional ingredients, or the portion and size of Sate itself. It makes many kinds of Sate based on the meat, shape, or the ingredients. Sate can be found in many traditional food stalls around of Bali. The famous kinds of Sate can see below:

Sate Lembat is made from chopped meat mixed with grated coconut and coconut milk, twisted into a bamboo stick and grilled.
Sate Kablet, like sate lembat, but with boiled liver topping.
Sate Orob is made from chopped fish or pork, the same as the sate lembat but the stick is made of the hard fraction of the coconut leaf, for better flavor.
Sate Empol is made from slices of pork, beef, chicken, or duck meat, combined with their respective inner organs like liver, spleen, or lung.
Sate Asem is tamarind-added Sate Empol to produce less spicy taste.
Sate Pusut is made from bigger slices of pork, chicken, duck or beef combined with its respected liver.

URUTAN
Urutan is known as Balinese sausage. Unlike a piece of sausage one ever imagines, urutan is made from meat-filled intestine, fried on boiling coconut oil. Some are dried under the sunshine before being fried.

TRADITIONAL CAKE & SNACK

Traditional cakes are prepared for a ceremony or social gathering such as wedding party or Balinese birthday called Otonan. Most cakes are made from rice flavor, sticky rice, or fruits. Balinese snacks are like western cereal, enjoyed in the morning with tea or coffee. Cakes are available in traditional markets and modern food stalls.

BANTAL
Bantal, one among the most famous, is made from white sticky rice mixed with grated coconut and sugar. Red beans or small slices of banana are filled inside of the dough. It is then wrapped in coconut leaf in square shape and steamed. Bantal can be found in many ritual ceremonies and social events. Bantal is often served as a dessert in many modern restaurants in Kuta, Sanur, or Nusa Dua.

BATUN BEDIL/SALAK
Batun Bedil/Salak are made from rice flour mixed with coconut milk. The dough is shaped like small a bullet and then boiled, served with grated coconut and melting brown sugar. This snack is banana leaf wrapped sold in traditional markets or in modern plastic wrapper sold in superstore.

BUBUH SUMSUM
Sweet porridge, most favored by children, is made from rice flour flavored with liquid produced from Pandan Arum palm leaf, creating greenish tone and tempting smell. Bubuh Sumsum is served with grated coconut and melting brown sugar.

BUBUH INJIN
Bubuh Injin is made from black sticky rice boiled in a sweet coconut milk. It is usually served with jackfruit toppings.

BULUNG
Bulung, known as Balinese pudding, is made from boiled white seaweed and brown sugar. One can eat it directly or mixed in fruit salad.

DODOL
Dodol is actually found in many places in Indonesia. In Bali, Dodol is wrapped in dry corn skin. This cake is made from sticky rice flour mixed with melting palm sugar. It is steamed until it looks like mud and wrapped with dry corn skin in small size.

GODOH
Godoh, fried banana, is one among the most popular afternoon or morning cakes. Dough-dipped banana is fried in coconut oil, often served with honey, godoh is usually enjoyed with coffee or tea in the morning. Godoh is served as dessert in some modern restaurant in Bali. If one like ice cream, s/he can put it above Godoh to create different flavor.

IWEL
Iwel usually is found in a ritual ceremony. This soft black cake is made from steamed black sticky rice mixed with grated coconut and palm sugar. It is then pounded and wrapped in coconut leaf. Iwel usually is sold during festive holidays like Galungan and Kuningan.

JAJA ULI
Jaja Uli, like iwel, jaja uli is widely during auspicious day like Galungan and Kuningan. Tradition says such an auspicious day won’t be complete without this cake. Jaja uli is made from white sticky rice flavor mixed with grated coconut and white or brown sugar. It is then steamed and pounded to make it soft and easy to form: circle, triangle, square. Jaja uli is usually served with Tape Ketan, fermented white sticky rice.

KLEPON
A ball-shaped soft cake made from rice flour filled with palm sugar.

LAKLAK
Laklak, one famous snack in Bali, is steamed cake made from rice flour, slices of jackfruit, and coconut milk. Laklak looks like small white pancake. It is usually served with grated coconut and melted palm sugar. Laklak is best eaten when it is hot.

LEPET BUGIS
Lepet Bugis, is banana leaf wrapped in made from sticky rice flour filled with unti, grated coconut mixed with melting brown sugar. Best when it is served hot.

SATUH
Satuh looks like a compact snow in various shapes. Satuh is made from white sticky flavor and sugar. Satuh is a dry cake and it has strong sweet flavor. One usually eat satuh with a glass of water.

SUMPING
Sumping, or naga sari, is a banana filled white soft made from steamed rice flour, coconut milk, and sugar, usually wrapped in a piece of banana leaf.. Sumping often be found in modern restaurant as a dessert.

TRADITIONAL SAUCE & COMPLIMENT

SAMBEL MATAH
Sambel Matah, raw sambal, often is referred as the best sauce to enjoy gilled or fried chicken, duck, and sea food. Fresh slices of chili, salt, and coconut oil, all are mixed together. Shrimp paste often added for a saltier taste. Sambel Matah is always an option when you order grilled food. Beachside restaurants along Jimbaran and Kedonganan are popular for their Sambel Matah.

SAMBEL SERE
Very spicy and yet tasty, Sambel Sere is made from fried onion slice and garlic, salt, chili, coconut oil, and Sere grilled shrimp paste.

KERUPUK MELINJO
Krupuk Melinjo is a salty fried cracker made of melinjo fruit, often served free before your appetizer. Sugar and chili sauce often is added.

B E V E R E G E S

Traditional beverage is one of important aspects in a ritual ceremony, produced specifically for such a religious service. Such beverage is now mass-produced and is available for public. Here are some of the most famous:

BREM
Brem is a sweet, low alcohol beverage made from fermented white sticky rice. Brem is one of three important beverages in Balinese ritual ceremonies or social events.

TUAK & ARAK
Tuak is a Balinese traditional beverage which contains higher level of alcohol. This beverage is made from the essence stem of various trees. If Tuak is made from stems of a coconut tree, it is called Tuak Nyuh/ Tuak Putih and if it is made from stems of Jaka treeit is called Tuak Jaka/ Tuak Gading. Based on the level of alcohol, Tuak is classified as Tuak Manis and Tuak Semedah. Tuak Manis is sweeter and contains lower alcoho. Unlike Brem, tuak is not widely marketed, because it has to be served fresh. High quality Tuak is produced in East and North Bali.

Arak Bali is known since a long times ago as an incredible liquor. Arak is colorless and contains highest level of alcohol. This liquor is made from the distillation process of Tuak. Arak is usually consumed by Balinese people who live on cold mountainous areas. Spiced Arak Ijung is widely used in a ritual ceremony and medical purposes. Unlike Tuak, Arak can be stored for years, so that is why modern companies produce this beverage for the overseas market.

LOLOH
Loloh is Balinese medical beverage or rather classified as health drink. Loloh is a concoction made from turmeric, ginger, greater galingale and kayu manis. Often loloh is mixed with fresh egg yolk and honey. Loloh only can be found in traditional markets.

Architecture

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Source: Tourism Information 2008 book published by Bali Government Tourism Office &
Bali a Traveler’s Companion book

What is Traditional Balinese Architecture?

Traditional Balinese Architecture is a combination of a balance relation between Bhuwana Agung (universe, the bigger world,) and Bhuwana Alit (human, the smaller miniature). This traditional architecture is a mix influence of the Hindu culture, Chinese Buddhist, and Megalithic culture. In several parts of Bali European style can also be found. These days traditional architecture is combined with the more modern design.

Sources of Guidance to Build a House

An old Hindu’s manuscript called Lontar Asta Kosala Kosali is the chief guide to build a proper Balinese house. There are also other manuscripts, such as Lontar Asta Bumi (containing size of land and location a good house), Lontar Asta Dewa & Lontar Wisma Karma (containing the name, shape, and function of each a building), and Lontar Dewa Tattwa (containing clearance ceremony before a house is built). In many aspects of life, those guidance books have been developed depending on the surrounding, local topography.

Strength & Weakness

Based on the philosophy, a traditional Balinese house has some strength aspects. The strength points that are:
• Good Ventilation System

Balinese traditional houses give full attention on air circulation, by maximizing the use of big windows (more than two in one house) and a free space between the roof and the wall.

• Strong Foundation

Based on Tri Loka concept, a building is considered the same like a human body which consist of three main parts; foot, body, and head. Therefore, the foundation part (foot) of traditional Balinese house is made the strongest to keep the other parts; main building (body), roof (head).

• Massive Yard

The backyard in Balinese traditional house has the same function as in a Japanese traditional house, according to Ashihara (1970). The back garden occupies as house interior where the interaction between human (Bhuwana Alit) and nature (Bhuwana Agung) go on. It is purposely built as an oxygen supplier, a space for planting the greens.

• Guarding Wall

A traditional house naturally has a high wall surrounding it like a castle. This wall purposes as a guard, separating the house yard from public environment. The wall keeps one’s privacy and is believed to be able to protect the house from black magic.

• Land Size

A traditional Balinese house requires a necessary spacious land, about 300 square meters, usually consisting of nine buildings, enough to shelter a big family members. In many big cities where land is expensive, that can pose a serious problem.

• Time to Build

A traditional house is longer to complete than a modern, minimalist house. Building a traditional Balinese house is a wearisome work requiring the advice of a special architect called Undagi. An undagi is usually also a sculpture who carves relief in several parts of the house. A relief usually shows traditional stories containing moral obligations. Sizes are not in meters or feet, but using traditional dimension called depa (furthest distance between tips of one’s hands), a lengkat (knuckle).

• Maintenance

A traditional Balinese house requires a special treatment, because most of parts are made from stone and dry grass. This bits and pieces should be checked regularly, for example the dry grass roof should be renewed every five years.

• Bathroom

Long time ago Balinese built such a toilet near a river or spring. Therefore, they only prepared very simple facilities inside their house enough for bathing and provided water to drink.

Description

Traditional Balinese concept adopts Hinduism and Chinese Buddhism. The chief ingredient, a Hindu’s concept called Tri Mandala, conveys an integrated three areas; Nista, Mandala, Utama.
• Nista is an area for the dirty aspects (real or abstract). Nista area is on the southern side of a house or a temple. The southern side belongs to sea, the neutral agent where bad auras will be dilluted.
• Mandala is the neutral area. Mandala is located between the south and north side.
• Utama is holy area. It is located on the northeastern side. The north belongs to mountain, the holy area according to Hinduism.
From the out side, a Balinese traditional house looks like a small castle surrounded by red brick walls. This small castle extends from north to south like a long square. A traditional Balinese house consists of nine buildings which have different function. Those building are: Sanggah/ Merajan, Meten/ Bale Daja, Bali Dangin/ Bale Gede, Bale Dauh, Sake Enem, Paon/ Pewaregan, Jineng, Angkul-angkul, and Aling-aling.

SANGGAH/ MERAJAN

Sanggah/ Merajan is a shrine dedicated for praying to God and family ancestors. Sanggah is located in Utama area (northeast side) of the house, as told on the Tri Mandala concept. The Chinese culture seamlessly is seen in the form of two guarding statues on right and left side of entrance door, as seen in the many Chinese temples. Sanggah usually hosts historical relief which contain moral messages on the outer wall.

METEN/ BALE DAJA

Meten/ Bale Daja is building for the oldest family member. Meten consist of one bedroom and a terrace. This building is located on Utama area (north side of the house), because the older family member is usually a respected priest for the family temple. In this building especially on the door and windows, you will see some peacock relief or Balinese ox. Ox is one of holy animals and used as symbol for honorable person, as also seen in the Indian culture. Meanwhile, peacock is a symbol of honorable person in Chinese culture.

BALE DAUH

Bale Dauh is a building for all family members, except the oldest, located on Madya area (west side of the house). Bale Dauh consists of several bedrooms and one terrace. Bale Dauh is usually bigger than the other. The relief of plants can be found in many parts of this building symbolizing prosperous and unity of the family unit.

BALE DANGIN/ BALE GEDE

Bale Dangin is an open air building in Madya area (east side), with a single wall on the back side. On the east side of this building is one big wood bed for Manusa Yadnya, a ritual ceremony dedicated for human rites aiming at cleansing the soul. The building also keeps various ceremonial equipments. On the front of the main post which props up the roof, there is a Garuda statue —it has an eagle’s head and wings, but the body is human—or a lion with two wings. Those animals are believed as the guardians from black magic, especially when the family runs a Manusa Yadnya.

SAKE ENEM

Sake Enem is a building for guests. Similar to Bale Dangin, this is an open air structure with a single wall on the south side. Sake Enem also has a big wooden bed on the center. In certain part of the island, the family doesn’t build a wooden bed, so guests instead simply sit above a plaited mat on the floor. Sake Enem is located in Nista area (south side), considering that they no idea whether the guest bring good or bad auras. So if they bring bad atmosphere, it can be neutralized soon.

JINENG/ LUMBUNG

Jineng/Lumbung is a rice barn. This warehouse is located behind Sake Enem, near the kitchen paon. Jineng/ Lumbung is positioned higher than other buildings. It has a post on every corner that looks like a big pigeon house with a door. Usually a non-permanent wooden stair Jan/ Gerejak is provided to take collect the rice.

PAON/ PEWAREGAN

The kitchen, Paon/ Pewaregan is located on the south side of the house belonging to Nista area, because it is a place where the family keeps the equipment for slaughtering animals and cutting trees, including knife, axe, etc. Paon could also mean fire, and located so because the god of fire has the authority on south. Paon consists of two parts, the first open air section Jalikan is the true cooking area with wood fire oven. The second part is a room where food and other cooking apparatus are kept.

ANGKUL-ANGKUL

The traditional gate angkul-angkul is a pair of two red brick blocks in a row position with a wooden door in between. Angkul-angkul has a pyramid roof made from dry grass. Angkul-angkul is normally higher than the wall surrounding the house. On the right and left side of this gate there are guardian statues in scary expression. Often they are a male and female with both palm of hand in front of their breast. This pose is a welcoming gesture of Balinese people which is followed by saying Om Swastiastu (welcome greeting).

ALING-ALING

Balinese people are very friendly in a sense that they always welcome guests. Naturally they never close the gate. To keep their privacy, Balinese people build a small wall between Angkul-angkul (gate) and the house yard, called Aling-aling. Aling-aling makes someone outside can not see their the people inside.

Other Architecture

Tenganan and Trunyan, a two separated traditional villages each has its own unique, different architectural design. Both villages are occupied by old Balinese origin, Bali Aga, as often compared to the recently migrating Balinese moving from Java’s Majapahit Empire in the 15th century.

Those people do not follow modern Hinduism, and moved to the inner enclosures to stay away from the ‘foreign’ influence brought by the arrival of today’s Balinese. They are Bali Aga, early inhabitants of Bali.
Bali Aga keep practicing some Megalithic culture, including their architecture design. Unlike the common nine-building concept, traditional houses in Tenganan and Trunyan consist of two main buildings only. It is a large building which consists of some bed rooms, kitchen, terrace and a family temple.
The houses and the temples people do not apply three main areas, Nista (dirty area), Mandala (neutral area), Utama (holy area), as other Balinese in general. All the bedrooms, kitchen, terrace are built in on a piece, large building. This building has less relief carves and use terracotta as cement, reflecting their megalithic ages. The village temple is built from big stones with less relief carves.

Sightseeing

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Amed and Tulamben
In a remote location on the north coast, Amed and Tulamben are the most popular sites for diving or snorkeling in Bali. A shallow World War II shipwreck offers easy access to the colorful underwater world. The area is also known for a wide variety of beautiful fish, including sharks. Diving courses are also available for the uninitiated.

Batubulan
Just outside of Denpasar on the road to Ubud, the small village of Batubulan greets you with platoons of stone statues that line the roadside in a impressive array. Terrible fanged demons, noble warriors, and animals of all shapes and sizes and at all stages of completion rest under the shady trees waiting to be purchased.

Batukaru
This 2,278 meter peak towers over the local landscape and strongly influences local spiritual beliefs. All local temples have a shrine dedicated to the spirit of this ?coconut shell? mountain, and high on its slopes is the important temple of Pura Luhur, the ancestral temple of the royal family of Tabanan.

Bedugul
In the center highlands of Bali is the serene mountain area of Bedugul where high altitude vegetables, fruits, and flowers thrive in the cool climate. There is also a large botanical garden nearby. At Lake Beratan, various water sports are also available.

Besakih
Temple Bali?s ?mother temple,? Besakih is the largest temple in Bali. Situated over 900 meters up the slopes of Gunung Agung, it has been regarded as a holy place since pre-historic times. The first recorded mention of its existence is from an inscription that dates from the year 1007 AD. Since the 15th century, it has been regarded as the central temple for the entire island. Each traditional kingdom has its own temple within the compound, and so do each of the caste groups. There is a total of 18 separate sanctuaries.

To the Balinese, a visit to the temple sanctuaries at Besakih is a special pilgrimage. During full moons, the entire compound of Besakih celebrates the visits of the gods with an enormous throng of visiting pilgrims.

Celuk
Balinese jewelry is unique, and Celuk is the home of much of it. Nearly every family in Celuk is involved in their trademark gold and silver work that has become very famous over the years

Geger Beach
Only 5 minutes from the Nusa Dua golf course, Geger Beach is often referred to by tourists 'in the know' as ?a hidden paradise?. The especially clear water makes this beach particularly suitable for swimming as well as surfing.

Gitgit Waterfall
South of Singaraja is Gitgit waterfall, Bali?s highest waterfall. Nestled deep in the mountains, this beautiful wilderness area is a must for nature lovers who want to get away from the hustle and bustle of the larger towns.

Goa Gajah
Literally meaning 'Elephant Cave', Goa Gajah was an ancient monastery of Hindu and Buddhist monks who used to meditate in the cave. Believed to be built in the early 11th century, its face is elaborately carved and depicts a demon splitting open the rock with its bare hand at the mouth of the cave.

Goa Lawah
About 43 kilometers east of Denpasar, Goa Lawah is one of the most sacred temples in Bali. Built in the 11th century, this temple occupies a natural cave that is inhabited by thousands upon thousands of chirping bats.

Gunung Agung
The tallest mountain in Bali at 3,142 meters above sea level, the active volcano Gunung Agung is said to be the 'home' of the Balinese gods. Religiously, the Balinese Hindus orient themselves towards Gunung Agung as the center of their spiritual world. Gunung Agung, accordingly, is also home to the 'mother temple' of Bali, Besakih. In 1963, the volcano?s last eruption killed more than a thousand people and destroyed several villages. Hiking trips to the summit are now popular with athletic tourists, who are rewarded with some of Bali's most spectacular views.

Gunung Kawi
These 11th century tombs, carved out of the rock face of the gorge of the Pakerisan river, are approached by a steep descent through breathtaking scenery. Across the gorge are some more impressive tombs that were the meditation caves of the men who were the keepers of the tombs.

Jagat Natha Temple
One of the most beautiful temples in Denpasar is the Jagat Natha Temple at the northeast corner of Puputan Square. This temple really comes alive during full moons, when worshippers from all over the city gather to bring offerings. Its restful shade and gnarled frangipani trees offer a welcome contrast to the nearby city traffic.

Jatiluwih
Approximately 20 kilometers from Tabanan, the road climbs up high into the hills to a small village named Jatiluwih. At 850 meters altitude, the view here is one of the finest in Bali. Bali?s trademark terraced rice fields stretch into endless contours over the hills and valleys as far as the eye can see.

Jembrana
The least known region in Bali, scarcely visited by tourists, and sparsely populated, Jembrana is home to the densely forested highlands of Bali?s National Park. The flatter southern region is rice growing country. Villages have clean air and flowering shrubs that almost obscure the neat little houses. The local economy runs primarily on the harvesting of coconut, coffee, cloves, and vanilla. Jembrana has always been isolated and largely unaffected by events on the rest of the island, and its history has left it more influenced by Islam and Christianity than other regions of Bali.

Jimbaran Beach
Jimbaran Beach is just south of Kedonganan Beach and has very beautiful white sand suitable for recreation and relaxation. It is quieter than its neighboring beaches, and one will find nice hotels and many seafood restaurants. Jimbaran is, in fact, known for its delicious fresh seafood.

Kedonganan
Beach About 3 kilometers south of Bali's international airport, the fishing village of Kedonganan boasts a traditional fish market and a great number of traditional fishing boats that can be engaged to sail around the gulf for a picturesque view of the cresent beach.

Kehen Temple
Just north of Bangli, Kehen Temple is one of the largest temples in Bali and is a stirring example of the skill of the stone-carvers of the region. Founded in the 11th century, Kehen Temple has three courtyards that are each entered through towering, carved gateways.

Kertha Gosa
The Kertha Gosa pavilions, built in the 18th century, are located in Klungkung, 40 kilometers northeast of Denpasar. They are especially known for their ceiling murals that depict punishments in hell for miscreants and rewards in heaven for the righteous.

Kintamani
At 1,500 meters in altitude, the beautiful Kintamani area has a cool climate suited to growing certain fruits and vegetables. Situated on a ridge across a volcanic lake from the active volcano Mt. Batur, Kintamani offers some of the most stunning scenery to be found in Bali and is a must-see for most tourists.

Krambitan
The village of Krambitan, southwest of Tabanan, was once the home of the local royal family; the ancient palace is still maintained as a popular attraction. Music groups maintain unique ancient customs of music and dance using bamboo instruments.

Kuta Beach
Once a poor fishing village with a black history of lepers and witches, Kuta began to provide what visitors wanted and soon became a key point on the sea route from India through Southeast Asia to Australia. Now, Kuta is Bali's most famous and popular beach town. One of its primary attractions is its long stretch of white sand along its picturesque bay. The famous Kuta sunset is stunning, and there is a wide selection of hotels and bungalows to choose from. Kuta is also known for its lively nightlife, its wide variety of international restaurants, and its many recreational activities.

Lovina
Situated on the north coast of Bali about 10 kilometers west of Singaraja, Lovina has black sand beaches safe for swimming and snorkeling. Dawn charter trips with local fishing boats can be arranged and can yield hours of spectacular dolphin watching. For a little extra time and money, the boats can also take you to Menjangan Island and Labuan Lalang for great diving and snorkeling along some of the most beautiful coral reefs in Bali.

Mas
The village of Mas specializes in woodcarvings of any kind. Most of the prominent woodcarvers of Bali dwell here, producing elaborate and fine woodcarvings and teaching the younger generation to carve.

Medewi
Located about 72 kilometers west of Denpasar, the beach of Medewi is flat and stony and has long, rolling waves, making it very suitable for surfing and sunset watching.

Museum Bali
On the eastern side of the historic Puputan Square in Denpasar is the Museum Bali, built by the Dutch in 1932. The original collection was put together with the assistance of a German painter. Well apportioned exhibition halls display an excellent collection of Balinese artifacts from prehistoric to contemporary times, including weapons, dance costumes, ceramics, textiles, and paintings.

Nungnung Waterfall
The small village of Nungnung, about 40 kilometers north of Denpasar, hosts a 50 meter high waterfall as well as expansive rice terraces, making it a scenic, 'off the beaten path' place to visit.

Nusa Lembongan
The small island of Nusa Lembongan has become a popular destination for those seeking an isolated, quiet retreat. The boat trip to the island can take from one to two hours depending on the type of boat. One of the main attractions of the island is diving and snorkeling, with amazing corals and fish in crystal clear water.

Rambut Siwi Temple
Rambut Siwi Temple sits atop a cliff overlooking a breathtaking panorama of paddy fields on one side and a black sand beach on the other. Two caves overlook the sea, each with a view of the nearby boats.

Sadha Kapal
Temple Sadha Kapal Temple in Kapal is known for its intricate decorative carvings. Dating from the Majapahit period, this temple was originally an old dynastic sanctuary of the Mengwi royal family. The split gate and 16-meter high tower are constructed in ancient Javanese style. Sixty-four stone seats, similar to megalithic ancestral shrines, commemorate warriors who died in battle.

Sakenan Temple
Built in the 13th century on a small island very close to Benoa Harbour and Nusa Dua, Sakenan Temple can now be reached by road.

Sangeh
Sangeh is a foothill village that includes about 14 hectares of dense, unmolested forest with hundreds of monkeys in residence. The unique trees cannot be found in any other part of Bali, and their existence in Sangeh remains a mystery. A lovely, mossy temple -- hidden amongst the tall and gracious trees -- provides an exotic setting for interacting with the multitudes of banana-loving critters.

Sanur
On the Eastern coastline and sheltered by a coral reef, the waves in Sanur are much gentler than in other areas of Bali. Fisherman still wander the beach, and the colorful outrigger canoes can be hired for sailing trips along the coast and to outlying islands. In the last two decades, the once sleepy village of Sanur has become an international resort area, with numerous hotel complexes offering accommodations to suit every budget.

Taman Ayun Temple
Taman Ayun means 'beautiful garden', an appropriate name indeed for this most picturesque temple located in Mengwi. King of Mengwi I Gusti Agung Anom built is stately courtyards and its large moat in the year 1634. Containing both the royal family ancestral shrines and shrines to the major deities, Taman Ayun was the main temple for the ancient kingdom of Mengwi and is now a popular tourist attraction.

Tampaksiring
The spring that bubbles up in the inner courtyard of the Tirta Empul Temple in Tampaksiring is believed to have magical curative powers, and throngs of people visit the special bathing pools with their mossy walls.

Tanah Lot
Carved out of the landscape by tides, wind, and rain, the huge offshore sentinel rock of Tanah Lot supports a small but picturesque temple that is Bali's most photographed location. Only reachable by land during low tide, Tanah Lot Temple is the favored destination of most tourists to view the sun set as it retires behind the remarkable natural formation.

Tanah Wuuk
Tanah Wuuk is a beautiful river valley just 2 kilometers north of Sangeh. Its location off the main road and hidden behind rice fields makes it a very quiet and private place to enjoy the pristine nature.

Tanjung Benoa
Located north of Nusa Dua, this is a beautiful white sand beach area where visitors can enjoy many types of water recreation and sports such as snorkeling, parasailing, diving, boating, sailing, and more. This area is an extension of Nusa Dua, with easy access to its luxurious hotels and other tourism facilities.

Tenganan
Protected for centuries from the outside world by its surrounding walls, the village of Tenganan has maintained its ancient pre-Hindu customs through a strong code of non-fraternization with outsiders that continues today. Tenganan is famous for its unique woven material called gringsing, which is supposed to protect the wearer with magical powers.

Tirta Gangga
Just north of Karangasem on the slopes leading up to Mount Agung is Tirta Gangga, a veritable water playground designed by 6 princes of the royal family of Karangasem. The exotic pools and water fountains sustained some damage during eruptions of Mt. Agung, but the water gardens remain as serene and temting as ever to the weary traveler.

Trunyan
Dating to pre-Hindu times, the remote mountain village of Trunyan still maintains many of its ancient customs. It is one of the few villages left in Bali whose inhabitants are truly native Balinese, as opposed to the Javanese immigrants that make up most of Bali's population. Known as 'Bali Aga', these native Balinese in Trunyan are perhaps best known for their unusual custom of disposing of their dead on the ground instead of below it.

Ubud
Famous for its painter?s community, Ubud is special in more ways than one. Its beautiful surroundings and gracious way of life have drawn celebrities and artists from all over the world for decades; some have even adopted Ubud as their home. An array of boutique hotels and unique restaurants now beckon to Bali's most culturally inclined tourists.

Uluwatu Temple
At the westernmost tip of the southern peninsula of Bali, this is of one Bali's most famous and spectacular temples. The location is dramatic, perched on the edge of a high cliff with a picturesque sunset view. The temple was first used for worship by an 11th century priest, Empu Kuturan, who came to Bali to bring religious law and to form traditional villages. Filled with the scent of frangipani blossoms, this popular temple is also home to many friendly monkeys.

Balinese Art & Culture

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Baris Dance
Just as the Legong is essentially feminine, the Baris, a traditional war dance, glorifies the manhood of the triumphant Balinese warrior. The word baris means 'line' or 'file' and refers to the warriors who fought for the kings of Bali. There are numerous kinds of Baris, distinguished by the arms borne by the dancers.

Originally, the dance was a religious ritual: the dedication of warriors and their weapons during a temple feast. From the ritualistic Baris Gede grew the dramatic Baris, a story prefaced by a series of exhibition solo dances that show prowess in battle. It is from these that the present Baris solo takes its form. A good Baris dancer must undergo rigorous training to obtain the skill and flexibility that typifies the chivalrous elegance of the dance.

A Baris dancer must convey fierceness, disdain, pride, alertness, compassion, and regret -- the characteristics of a warlike noble. The Baris is accompanied by gamelan orchestra, and the relationship between dancer and orchestra is an intimate one; the gamelan must be entirely attuned to the changing moods of the warrior's will.

At first, the dancer's movements are studied and careful, as if he were seeking out foes in an unfamiliar place. When he reaches the middle of the stage, however, hesitation gives way to self-assurance. He rises on his toes to his full stature, his body motionless with quivering limbs. In a flash, he whirls on one leg and his face renders the storm of passions of a quick-tempered warrior.

Barong Dance
The natural world of the Balinese is one held in balance by two opposing forces: the benign, beneficial to man, and the malign, inimical to humanity. The destructive power of sickness and death is associated with the latter force and the evil influence of black magic.

If black magic prevails, a village fails into danger, and extensive purification ceremonies become necessary to restore a proper equilibrium for the health of the community. Dramatic art is also a means of cleansing the village by strengthening its resistance to harmful forces through offerings, prayers and acts of exorcism.

Such is the symbolic play of the Barong and Rangda. Barong, a mystical creature with a curved tail, represents the affirmative, the protector of mankind, the glory of the high sun, and the spirits associated with white magic.

The widow witch Rangda is the complement. She rules the evil spirits and witches who haunt the graveyards late at night. Her habitat is darkness, and she practices black magic.

Both figures possess strong magical prowess. Somewhere in a mythical past, the Barong was won over to the side of humanity and, in the play, fights on behalf of the people against the intruding death force of Rangda.

Yet the essence of the Barong and Rangda play remains the eternal conflict of two cosmic forces symbolized in the two protagonists. Because the play is charged with sorcery and magic charms, extensive offerings are made beforehand to protect the players during the performance. Usually the Barong enters first, cleverly danced by two men who form the forelegs and hindlegs, the first man manipulating the mask. A Barong's appearance varies with the kind of mask it wears, which may be a stylized version of a wild boar, a tiger, a lion, or an elephant. The most holy mask is that of the Barong Keket, "The Sovereign Lord of the Forest", a beast representing no known animal. In the extreme coordination of the lively Barong, one forgets the fantastic creature isn't acting on its own accord, as it mischievously sidesteps and whirls around, snapping its jaws at the gamelan and swishing flies with its tail.

After the Barong's dance, everyone falls silent. From behind the temple gate appear the splintery fingernails that foreshadow the dreadful vision of Rangda. From her mouth hangs a flaming tongue signifying her consuming fire; around her neck a necklace of human entrails falls over her pendulous breasts. She stalks the Barong while waving a white cloth from which issues her overwhelming magic. They collide in a desperate clash of witchcraft. In the protection of the Barong is the community, represented by men armed with kris daggers.

At one point in the fight, when the victory of the Barong is threatened, the kris dancers rush to the Barong's assistance by violently attacking Rangda. The witch's spell reverses their fury back into themselves, and they begin to plunge the blades of their krisses inward against their own bodies. But the Barong, with its own powerful charm, protects the crazed men from inflicting self-harm.

At the end of the play, the kris dancers are revived with water that has been dipped in the beard of the Barong, which is made of human hair and is considered to be the most sacred part of the Barong. A final offering is made to the evil spirits by spilling the blood of a live chicken.

Beliefs
In practicing their faith, Hindu communities try to achieve a spiritual balance of worship between Tattwa (philosophy), Susila (morals), and Upacara (rituals). These three areas are subdivided into various tenets.

The Tattwa has five principal beliefs: Brahman, the belief in the existence of one almighty god head; Atman, the belief in the soul and the spirit; Samsara, the belief in reincarnation; Karma, the belief in the law of reciprocal actions; and Moksha, the belief in the possibility of unity with the divine (Nirwana).

The Susila places emphasis on three major rules for behavior: to think good thoughts, to be honest, and to do good deeds.

The Upacara are divided into five areas of holy sacrifice: Dewa Yadnya, holy rituals for the gods; Pitra Yadnya, holy rituals for the higher spirits; Rsi Yadnya, holy rituals for the holy Hindu prophets; Manusa Yadnya, rituals for and on behalf of humans; and Bhuta Yadnya, sacrifices for neutralizing the negative influences from the natural and supernatural worlds.

In Bali, the high priest, selected from the Brahman caste, officiates at large ceremonies. The village temple priest, who may be from any caste, looks after the temple and leads certain holy rituals included in the Panca Yadnya.

The holy books of the Hindu religion are the Vedas, which origined in India. Those which reached Bali are the Catur and the Veda Cirah, which are still used by priests in carrying out their religious duties.

The religion is taught in other forms as well. The most popular of these are the Purana, or morality plays, and the Itihasa, or epic poems, such as the Ramayana and Mahabarata epics. Shadow puppet plays, operas, ballets, and other forms of drama are also vehicles of religious teaching in Bali.

Carving

Stone Carving
Stone carvings are mainly used to decorate temples and palaces. There is little difference between the iconography decorating temples (pura) and that of private buildings. Gateways represent the dividing line between the inner and outer worlds and, as such, are the recipients of some of the most fantastic carvings. As well as portraying deities and demons, carvers include many scenes from public life, and there are many temple surfaces enriched with the antics of the Dutch colonists; scenes of bicycles, drunken parties, car breakdowns, and airplanes can be found. Bali's modern-day centre of stone carving is the village of Batubulan, situated halfway between the cities of Denpasar and Ubud. Although you can see excellent examples of Balinese stone carving all over the island, the temples in the North tend to be much more creative. If you plan to tour northern Bali, it is worth taking the time to visit Pura Meduwe Karang in Kubutambahan, Pura Dalem in Jagaraja, and Pura Beji near Singaraja. In order to see the work of Bali's most famous stone-carver, I Gusti Nyoman Lempad, visit Pura Sagen Agung in Ubud.

Wood Carving
Wood carving, like stone carving, has traditionally featured largely in temple and palace architecture with little free standing 'sculpture' work produced commercially. Immaculately carved demons and mythical beings decorate pillars, door panels, and window shutters with the aim of protecting the buildings from evil intruders. Scenes of legendary figures placed within floral d?cor are also found and reflect a more pleasant and educational tone. With the arrival of European influences, wood carving started to develop along more innovative and commercial lines. Although there have been noteworthy carvers, artistic integrity has suffered as a result of the commercial boom in the tourism industry. These days whole villages specialize in producing certain styles of work. The village of Mas, for example, is probably best known for its carvings of female figures, characters from Hindu epics, and traditional masks.

Community
Most of Bali's people live in villages of 2,000 to 4,000 people on the fertile southern slopes of the island. It is usually only a few minutes? walk from one village to the next by road or through open rice fields. On the northern coastal strip, the villages are spread along the Java Sea.

Traditionally, the social organization of the island was based on the village unit, with each village providing all needs and functions from birth through cremation. The social organization of the village is one of the most unique aspects of Bali. The layout of a Balinese village and the lives of its members, for example, are closely tied to religion. The center of a village is usually an ancient and gnarled banyan tree, banyan trees being regarded as sacred and believed to be the first trees on earth.

A village may have several banjars, with each banjar having separate allegiances to certain temples, palaces, and holidays. Even the city of Denpasar is still rigidly divided into its constituent banjars. All decisions concerning the walfare and future of its people are made by a consensus of all married men in the banjar, and each family has some communal duties to perform for the banjar from time to time.

Almost every Balinese village has its own major temples. The ?Pura Desa? ("Village Temple") stands near the center of the village. Its functions are concerned with everyday village matters and ritually prescribed village gatherings. At the end of the village nearest the sacred mountains is the ?Pura Puseh.? This is a temple dedicated to the spirits of the land and of ancient ancestors. (In Bali, the direction of the mountains is considered heavenly and good while the direction of the sea is earthly and evil.) The lowest part of a village or that end nearest the sea contains the ?Pura Dalem? (?Temple of the Dead?) and the burial grounds.

In the center of every banjar is the Bale Banjar, or community center. The banjar is the core of village life. Meetings are held here, village feasts are prepared, and people gather to play games or just talk. The communal work is administered from the Bale Banjar. This work consists of repairing roads, bridges, irrigation canals, and temples and preparing for cockfights and celebrations. The Balinese do everything in groups, and bamboo platforms in the banjar, for example, often become places for villagers to sleep, sardine-like, with their friends.

In contrast to the egalitarian nature of the village political and economic organization is the caste system, a mainly social convention based on the Indian ideal. Outside the banjar system, the three higher castes are held in respect and are spoken to in a different language. The three higher castes represent the descendants of the Javanese aristocrats of the 14th century. There is a caste of priests (Brahmana), a caste of rulers (Ksatria), and a caste of warriors (Wesia). Ideally the members of these castes should only marry within their own caste, but this convention is no longer strictly observed.

Language is a complex matter in Bali. Basically there are two different Balinese languages. The common or 'low' language is of Malayopolynesian derivation while the 'high' language of the higher castes is a Javanese court language largely derived from Sanskrit. A commoner uses the high language when speaking to a member of a higher caste, but he may be replied to in low language. A polite, ?middle? language has also emerged. In addition, the official state language of Indonesian is taught in school.

Cremation
Cremation of the dead is perhaps the most important -- and often the most colorful -- ritual of Balinese Hinduism. A cremation is necessary to liberate the soul of the deceased for the passage into heaven and reincarnation. Due to the cost and the complicated preparations, cremations often occur long after the death of the person. Group cremations are sometimes held in order to share the expenses. Between death and cremation the body is buried in the cemetery. During this time, the soul of the deceased is thought to be agitated and longing for release.

An auspicious day for the cremation is chosen by a priest after conculting the Balinese calendar. Preparations begin long before the appointed day. A large tower of bamboo and paper, extravagantly painted according to the caste and wealth of the deceased, is constructed. On the morning of the cremation, relatives and friends of the deceased visit and pay their last respects. At midday the body is carried in the tower to the graveyard by members of the dead man?s banjar. This becomes a loud, noisy, and boisterous procession designed to confuse the soul of the deceased so that it wiil lose its way and not be able to return to the family compound.

At the cremation site a priest officiates and the fires are lit. Another raucous procession carries the ashes to the nearest body of water for disposal. This represents the cleansing and disposal of the material body and is cause for singing and laughing.

Later, there are private ceremonies for the care of the soul. The status of reborn soul relates to the person?s karma, or his conduct in previous lives. In general, the Balinese feel that the soul is reborn within the same circle of blood relations.

Galungan and Kuningan
Galungan is, literally, a celebration of the creation of the universe in which the creator of the universe is worshipped and all ancestral spirits are called to come down to earth and dwell again in the homes of their descendants. Welcoming offerings are placed in the family shrines and elaborate decorations placed at the gate of each home.

Ten days after Galungan, the ancestors are bidden farewell with more offerings during Kuningan.

This pair of holidays takes place once every Balinese year and is the most major celebration of the Balinese calendar.

Gamelan

Balinese music is based on the gamelan orchestra, unique in the world. Gamelan music is almost completely percussion. Though it sounds strange at first with its noisy percussion, most listeners find that it soon becomes exciting and enjoyable. Many villages throughout Bali have gamelan groups whose performances can be heard in venues ranging from village community centers to luxury hotels.

Jangger Dance
The flute begins an eerie tune, and faraway voices chant a strange song that flows from a loud melody to a nearly inaudible high pitch. Two girl singers appear wearing splendid, floral crowns with multi-coiored spikes. They advance, allowing another pair to enter, until twelve girls have filed on stage.

Slowly they kneel opposite each other, cocking their heads and darting their eyes to accent the rhythm of the orchestra. As the chanting continues, young men silently repeat the girls' entrance. In contrast to feminine delicacy, their movements are deliberate and strong. All wear painted moustaches.

Suddenly, the male formation breaks into frenzied activity of twists, jerks and lunges. Instantly, the shock wave ceases, the men freeze in their positions, and the lonely flute carries the dance back to the soft sways and chanting of the girls.

A folk dance introduced to the island in the thirties, the origin is in the Sanghyang trance ceremony in which the women chant the Sanghyang song and the men alternate with the gruff sounds of the Kecak.

Kebyar Dance

The Kebyar Dance is a male solo dance like the Baris. There are various forms of Kebyar including the Kebyar Duduk and Kebyar Trompong.

In Kebyar, the accent is upon the dancer himself, who interprets every nuance of the music in powerful facial expressions and movement. The most popular form of Kebyar in South Bali is Kebyar Duduk, the "seated" Kebyar, where the dancer sits cross-legged throughout most of the dance. By de-empasizing the legs and decreasing the space to a small sphere, the relation between dancer and gamelan is intensified. The dance is concentrated in the flexibility of the wrist and elbow, the magnetic power of the face, and the suppleness of the torso. The music seems infused in the dancer's body.

The fingers bend with singular beauty to catch the light melodies, while the body sways back and forth to the resounding beat of the gong. As the dance progresses, the dancer crosses the floor on the outer edges of his feet and approaches a member of the orchestra, usually the lead drummer. He woos the musician with side glances and smiles, but the drummer is too absorbed in the music to respond. Insulted, the Kebyar dancer leaves him and sets out for a new conquest.

The Kebyar is the most strenuous and subtle of Balinese dances. It is said that no one can become a great Kebyar dancer unless he can play every instrument of the orchestra. In Kebyar Trompong, in fact, the dancer actually joins the orchestra by playing a long instrument called the trompong while he continues to dance.

Kecak Dance
A serpentine stream of bodies coils itself, circle within circle, around a large, branching torch. The half-seen multitude waits in silence. A priest enters with offerings and blessings of holy water. One piercing voice cracks the suspense; the circle electrifies. No other dance is so unnerving as the amazing Kecak: dozens to hundreds of men who, by a regimented counterplay of sounds, simulate the orchestration of the gamelan. The now-famous Kecak dance was created in the early 20th century by the famous German painter, Walter Spies, who was resident in Bali at the time. It represents Spies' reincarnation of the male chorus of the ritual Sanghyang trance ceremony. Choreography transforms the ingeniously simple chorus into ecstasy. The cries, the erratic pulses of sound, and the sublimated violence of the kecak are perfectly contained in the precise use of a few basic motions of heads, arms, and torsos.

Various parts of the dance merge in a startling continuum of grouped motion and voice. Many words and gestures have no meaning except as incantations to drive out evil, as was the original purpose of the Sanghyang chorus. Kecak includes a play amidst a periphery of men -- a virtual living theatre. Accompanied by the bizarre music of human instruments, the storyteller relates the episode enacted within the performance. When demon-king Rawana leaps to the center, for example, the chorus simulates his flight with a long hissing sound. When monkey-man Hanuman enters the mystic circle, the men become an army of chattering monkeys.

Legong Dance
In legends, Legong is the heavenly dance of divine nymphs. Girls from the age of five aspire to be selected to represent the community as Legong dancers.

The most popular of Legongs is the Legong Kraton -- 'Legong of the Palace'. Formerly, the dance was patronized by local kings and held in a residence of the royal family of the village. Dancers were recruited from the aptest and prettiest children. Today, the trained dancers are still very young; a girl of fourteen approaches retirement as a Legong performer.

The highly stylized Legong Kraton enacts a drama of a most purified and abstract kind. The story is performed by three dancers: a female attendant of the court and two identically dressed legongs who adopt the roles of royal persons. The suggestive themes of the magnificent gamelan orchestra and the minds of the audience conjure up imaginary changes of scene.

The story derives from the history of East Java in the 12th and 13th centuries. A king finds the maiden Rangkesari lost in the forest. He takes her home and locks her in a house of stone. Rangkesari's brother, the Prince of Daha, learns of her captivity and threatens war unless she is set free.

Rangkesari begs her captor to avoid war by giving her liberty, but the king prefers to fight. On his way to battle, he is met by a bird of ill omen that predicts his death. In the fight that ensues he is killed. The dance dramatizes the farewells of the King as he departs for the battlefield and his ominous encounter with the bird.

The tiny dancers glitter and dazzle. Bound from head to foot in gold brocade, it is a wonder the legongs can move with such fervent agitation. The dancers flow from one identity into the next without disrupting the harmony of the dance. They may enter as the double image of one character, their movements marked by tight synchronization. Then they may split, each enacting a separate role, and come together again. In a love scene in which they rub noses, for example, the King takes leave of Rangkesari. She repels his advances by beating him with her fan, and he departs in anger, soon to perish on the battlefield.

Nyepi
Nyepi is the Balinese New Year?s Day according to their calendar and is honored through obligatory fasting, inactivity, prayer, and silence throughout the island for 24 hours. Great purification offerings are made in every village on the day before to appease the evil spirits, and lively exorcisms are held. Large gangs of youth and children roam the villages bearing burning torches, various noisemaking devices, and giant monsters of bamboo, wood, and paper to scare evil spirits away.

Pendet Dance
Pendet is the presentation of an offering in the form of a ritual dance. Unlike the exhibition dances that demand arduous training, Pendet may be danced by anyone. It is taught simply by imitation.

Younger girls follow the movements of the elder women, who recognize their responsibility in setting a good example. Proficiency comes with age. As a religious dance, Pendet is usually performed during temple ceremonies.

All dancers carry in their right hand a small offering of incense, cakes, water vessels, or flower formations. With these they dance from shrine to shrine within the temple. Pendet may be performed intermittently throughout the day and late into the night during temple feasts.

Ramayana Ballet

Basically, the Ramayana Ballet tells the same story of Rama and Sita as told in the Kecak (see Kecak Dance) but without the monkey ensemble and with a normal gamelan orchestra.

Rites of Passage

The Balinese believe that the individual soul is reincarnated into many lifetimes until, through numerous struggles and stages, it achieves union with the divine. It is the duty of every Balinese to have children as vessels for ancestors' spirits to be reincarnated. A man does not become a full member of his banjar until he is a father. Children are loved and highly prized in Bali, especially male children, as they carry the blood line of the family and also look after the burial and cremation of their parents.

As each lifetime is regarded as a passage from one state to another, so also there are critical stages during life where an important passage occurs leading toward adulthood. It is the duty of family and friends to help each child through these passages. The rites of passage begin while the baby is still in the womb. After a safe delivery, the afterbirth is ritually buried under a stone in the family compound. At 210 days (one Balinese year), the child is given its name. A Balinese child is never allowed to crawl, as this is regarded as animalistic. He is carried everywhere until he learns to stand and walk.

The passage into puberty is celebrated for both males and females. A girl's first menstruation is celebrated, and there is a rite of tooth filing for both girl and boys. The canine teeth, which the Balinese regard as animalistic fangs, are filed flat. This represents the 'leveling' of the more extreme aspects of one?s personality as one enters adulthood. After the tooth-filing, a father?s duties to his daughters are complete.

For a son, the father must finance and conduct the marriage ceremony, welcoming the bride as a new daughter into the family. The new bride leaves her old ties behind and takes her place in her new family.

Saraswati

Saraswati is the goddess of learning and is honored once a Balinese year with a holiday. Paradoxically, no one is allowed to read or write on this day, and offerings are made to books of learning.

Topeng Dance
A Topeng Dance is one in which the dancers have to imitate the characters represented by their masks. A full collection of Topeng masks may number 30 or 40.

Miscellaneous Tips

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CURRENCY AND BANKING
The local currency is the Indonesian rupiah ('Rp' or 'IDR'). There are Rp100, Rp500, and Rp1,000 coins and Rp1,000, Rp5,000, Rp10,000, Rp20,000, Rp50,000, and Rp100,000 paper notes. Compare the exchange rates on offer before changing money at money changers or banks. Although banks may offer an added measure of professionalism and security, it's not uncommon for money changers to offer better rates. There are usually different rates for cash and non-cash instruments such as travelers checks. Also, be aware that both banks and money changers can be very picky about the cash notes that they will accept; they often refuse notes that are in anything less than near-mint condition.

Major credit and charge cards are accepted in most major stores and hotels. Smaller merchants often add a small surcharge to card transactions.

Many -- but not all -- banks' ATMs in Bali are linked to major international networks such as Cirrus, Plus, Visa, and MasterCard. As a result, this can be a convenient and cost-effective way to obtain local currency; such ATMs are widely available throughout Bali (though not in rural areas).

CLOTHING
Balinese show respect by dressing neatly and modestly. Very informal dress can be considered offensive and is prohibited when visiting government offices or temples. Given the tropical climate, it is best to bring suitably light clothing. If you plan to spend any time in the mountains, however, it would also be wise to bring some warmer clothing; it can get somewhat cool at night at the higher elevations.

Be aware that it is customary to take off one's shoes before entering someone's house.

CUSTOMS
Indonesian law forbids visitors from bringing weapons, illegal drugs, or pornography into the country. Penalties can be severe and include death for weapons or drugs. You may bring a maximum of two liters of alcohol, 200 cigarettes, 50 cigars or 100 grams of tobacco, and a reasonable amount of perfume with you. Visitors must surrender a signed customs declaration in order to clear customs inspection upon arrival.

The export of certain products -- such as tortoise shell, crocodile skin, and ivory -- is prohibited. Permits are generally required to export live animals.

WEIGHTS AND MEASURES
Indonesia uses the metric system of measurement.

ELECTRICITY
Electricity in Bali is 220 volts, 50 cycles. Plugs have two round prongs. Adapters and converters are usually available in major hotels but may be hard to find elsewhere.

OFFICE HOURS AND HOLIDAYS
Most offices are open from 0800 to 1700, Monday through Friday. Bank teller windows, however, often close as early as 1400. Some offices are also open Saturdays until 1300.

The major holidays of Islam, Christianity, Hinduism, and Buddhism are all officially recognized in Bali, and offices will be closed on these days.

DRIVING
Driving is on the left side of the road. A variety of cars -- with and without drivers -- and motorcycles are widely available for hire in Bali. The majority of cars have manual 'stick-shift' transmissions. Traffic regulations are widely ignored, so driving yourself may prove stressful unless you're used to wild road conditions. Since a road accident -- common in Bali -- could spoil your trip and ensnare you in unpleasant proceedings, consider hiring a driver along with your car. Nevertheless, International Driving Permits are recognized in Bali.

If you intend to rent a motorcycle, helmets -- which are mandatory -- will be supplied by the hire company.

If you are driving yourself, remember that you must take the responsibility to avoid all other road users, as vehicles will pull out in front of you abruptly and expect you to avoid them. Drivers in Bali rely on audible warnings, so use the horn regularly to let them know of your presence and when overtaking. Likewise, other drivers will use their horns to let you know of their presence. Such horn use is not considered rude. At night, the use of the horn is replaced by flashing one's high beams. Remember to be extra vigilant as many bicycles and carts are not illuminated and street lighting can be minimal or absent. In cities, there can be complicated networks of one-way streets that can be confusing to navigate; take care not to turn the wrong way on a one-way street!

ANIMALS
Dogs, cats, monkeys, and similar animals can be imported into Bali from the following countries only: Australia, Bermuda, Brunei, China (Hong Kong only), Cyprus, Denmark, Fiji, Iceland, Ireland, Japan, Malaysia (Sabah & Sarawak only), Malta, New Zealand, Norway, Singapore, Sweden, Taiwan, the United Kingdom, and the United States (Hawaii only).

Permission must be obtained in advance. For further information, contact the Bali Animal Authority by telephone at +62-361-224184 or by FAX at +62-361-225368.

Hospital/Clinic

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Information about Hospital or Clinic in Bali

RSAD
Jl. Sudirman, Denpasar
Phone. +62 361 228003

RS Dharma Yadnya
Jl. WR. Supratman Tohpati,
Denpasar
Phone. +62 361 224729
(open 24hour )

RS Puri Raharja
Jl.Gianyar, Denpasar
Phone. +62 361 237437,
222013

RSUP Sanglah
Jl. Kesehatan Selatan 1
Sanglah, Denpasar
Phone. +62 361 227911

IRD RSUP
Jl. Kesehatan Selatan 1
Sanglah, Denpasar
Phone.+62 361
227991,226035 (Open 24
hour)

RS Saidharma
Jl.Tukad Unda No. 1, Renon
- Denpasar
Phone. 62 361 227220

RS Wangaya
Jl. Kartini, Denpasar
Phone. +62 361 222141
RS Bhakti Rahayu
Jl. Gatot Subroto, Denpasar
Phone. +62 361 430245

RSUD Kapal
Jl. Raya Kapal, Badung
Phone. +62 361 427218
RS Dharma Usada
Jl. Sudirman 50, Denpasar
Phone. +62 361 227560

RSU Manuaba
Jl.Hos.Cokroaminoto 28,
Denpasar
Phone. +62 361 226393

RSJ Bina Atma
Jl.Hos.Cokroaminoto, Ubung
- Denpasar
Phone. +62 361 225744

RS Surya Husada
Jl.P.Serangan 1-3 , Denpasar
Phone. +62 361 233786, 233787

RS Prima Medika
Jl.P.Serangan , Denpasar
Phone. +62 361 236225

RSB Kasih Ibu
Jl. Teuku Umar, Denpasar
Phone. +62 361 223036

RSB Puri Bunda
Jl. Gatot Subroto Denpasar

BIMC Hospital - 24 Hours Medical & Emergency Centre
Jl. By Pass Ngurah Rai No.100X, Kuta - Bali
Phone. +62 361 761263

Merdeka Medical Center (MMC )
Jl. Merdeka Renon, Denpasar
Phone. +62 361 233790

RS Graha Husada
Jl. HOS Cokroaminoto,
Denpasar
Phone. +62 361 426492

Clinic SOS Gatotkaca
Jl. Gatotkaca, Denpasar
Phone. +62 361 223555 (open 24 hour )

Klinik Perawatan Gigi
Darurat Dr.Indra Guizot
Jl. Patimura 19 Denpasar
Phone. +62 361 222445,
226445

PMI Badung
Jl.Imam Bonjol, Denpasar
Phone. +62 361 236305

Health in Bali

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IMMUNIZATIONS

No immunizations are required to travel to Bali, except for Yellow Fever for people arriving from infected areas. Malaria prophylaxis is not necessary in Bali but is advised for travel to other islands.

Check with your physician well before departure for advice with respect to recommended vaccinations. Hepatitis A and Hepatitis B vaccinations may be advisable. Japanese Encephalitis vaccination is often recommended for travel to other islands.

PRESCRIPTION MEDICATIONS

Most common prescription medications are readily available in Bali. If you need a new or unusual medication, however, it's probably best to make sure you bring enough with you for your entire stay. If you do bring any medications with you, be sure to also bring copies of the prescriptions to avoid questions from customs.

HYGIENE

Hygiene cannot be taken for granted in Bali. Many places do not have running water or sewerage. In any event, tap or well water is not potable but is clean enough for bathing, etc. Bottled water is widely available, but small shops may not store it properly or may have extremely old stock. Before buying or drinking a bottle, check the expiration date and hold it up to the light to check for particulate matter. If the bottle has expired or contains visible particulate matter, don't buy or drink it!

HIV/AIDS

HIV is a growing problem in Bali. Don't be complacent!

HEALTHCARE

Local healthcare facilities can be very dirty and limited. It's a good idea to bring a good first aid kit with you. Major hotels often have their own clinics or on-call physicians. If you should end up getting an injection for any reason, ensure the syringe has never been used before, or, better yet, buy your own new syringe from a pharmacy and take it with you.

Emergency care leaves much to be desired. Your best bet in the event of a serious problem or emergency is to get on the next plane to Singapore, which has world-class healthcare facilities and services. Air ambulances out of Bali can be arranged but are, of course, expensive. Consider buying insurance that includes coverage for such emergency evacuation.

International SOS is one such provider with operations in Bali. They have 24-hour centers in Bali, Jakarta, Singapore, Sydney, Bangkok, Hong Kong, Seoul, Beijing, and Ho Chi Minh City.

Government Tourism Offices

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The following government tourism offices can provide assistance and information in their respective areas:

BALI (PROVINCIAL) TOURISM AUTHORITY
Jl. S. Parman, Renon
Denpasar - Bali 80235
Indonesia
TEL: +62-361-226313; FAX: +62-361-222387;
Email: promotion@balitourismauthority.net

BADUNG REGENCY TOURISM OFFICE
Jl. Raya Kuta 2
Denpasar - Bali
Indonesia
TEL: +62-361-756175; FAX: +62-361-756176;
Email: diparda@badung.co.id

BANGLI REGENCY TOURISM OFFICE
Jl. Sriwijaya 23
Bangli - Bali 80613
Indonesia
TEL: +62-366-91537; FAX: +62-366-92739

BULELENG REGENCY TOURISM OFFICE
Jl. Veteran 23
Singaraja - Bali
Indonesia
TEL: +62-362-25141; FAX: +62-362-22380

DENPASAR CITY TOURISM OFFICE
Jl. Surapati 7
Denpasar - Bali
Indonesia
TEL: +62-361-234569; FAX: +62-361-223602

GIANYAR REGENCY TOURISM OFFICE
Jl. Manik 12B
Gianyar - Bali 80511
Indonesia
TEL: +62-361-943401; FAX: +62-361-943554;
Email: dipargin@denpasar.wasantara.net.id

JEMBRANA REGENCY TOURISM OFFICE
Jl. Surapati 1
Negara - Bali
Indonesia
TEL: +62-365-41210; FAX: +62-365-41010

KARANGASEM REGENCY TOURISM OFFICE
Jl. Diponegoro
Amlapura - Bali
Indonesia
TEL: +62-363-21196; FAX: +62-363-21196

KLUNGKUNG REGENCY TOURISM OFFICE
Jl. Surapati 3
Semarapura - Bali
Indonesia
TEL: +62-366-21448; FAX: +62-366-21246

TABANAN REGENCY TOURISM OFFICE
Jl. Gunung Agung
Tabanan - Bali
Indonesia
TEL: +62-361-811602; FAX: +62-361-812703

Immigration and Visas

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PASSPORTS AND OTHER DOCUMENTATION

Your passport must be valid for at least six months from your date of arrival or you may be denied admission. If arriving on a tourist visa, you must also show proof of onward journey in the form of a return or through ticket.

VISAS

Non-extendable visa-free entry to Indonesia for 30 days is available to passport holders of Brunei, Chili, Hongkong, Macao, Malaysia, Morocco, Peru, The Philippines, Singapore, Thailand, and Vietnam.

Passport holders of Argentina, Australia, Brazil, Canada, Denmark, Finland, France, Germany, Hungary, Italy, Japan, New Zealand, Norway, Poland, South Africa, South Korea, Switzerland, Taiwan, United Arab Emirates, United Kingdom, and the United States are entitled to either 3- or 30-day non-extendable tourist visas upon payment of US$10 or US$25, respectively, upon arrival.

Passport holders of all other countries and non-tourists of the aforementioned countries must obtain appropriate valid Indonesian visas at an Indonesian diplomatic mission prior to their arrival. Such visas are generally issued for 1-2 months and are often extendable in Indonesia up to a maximum of 6 months. A social visa, for example, can be extended for up to 6 months, but you must document your reason for being in Indonesia and have a letter from an Indonesian sponsor. A business visa can also be extended up to 6 months and, similarly, requires a letter from an Indonesian-based company or organization stating that you are being invited to visit for some legitimate reason.

Consulates in Bali

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Consulate General of Australia
Jl. M. Yamin 4, Renon
Denpasar - Bali 80226
Indonesia
TEL: +62-361-235092; FAX: +62-361-231990;
Email: ausconbali@denpasar.wasantara.net.id

Consulate of Japan
Jl. Raya Puputan 170, Renon
Denpasar - Bali 80235
Indonesia
TEL: +62-361-227628; FAX: +62-361-265066;
Email: konjpdps@indo.net.id

HONORARY AND VICE CONSULATES AND CONSULAR AGENCIES

Austria -- See Switzerland

Honorary Consulate of Brazil
Jl. Legian 186, 2nd Fl.
Kuta - Bali
Indonesia
TEL: +62-361-757775; FAX: +62-361-751005;
Email: brazilconsul@bali.net

Honorary Consulate of the Czech Republic
Jl. Pengembak 17
Sanur - Bali
Indonesia
TEL: +62-361-286465; FAX: +62-361-286408;
Email: bali@honorary.mzv.cz

Royal Danish & Norwegian Honorary Consulate
c/o Mimpi Resort
Kawasan Bukit Permai
Jimbaran - Bali 80364
Indonesia
TEL: +62-361-701070; FAX: +62-361-701073

Finland -- See Sweden
Consular Agency of France
Jl. Mertasari II/8
Sanur - Bali 80227
Indonesia
TEL: +62-361-285485; FAX: +62-361-286406;
Email: consul@dps.centrin.net.id

Honorary Consulate of the Federal Republic of Germany
P.O. Box 3100
Denpasar - Bali 80228
Indonesia
TEL: +62-361-288535; FAX: +62-361-288826;
Email: germanconsul@bali-ntb.com

Honorary Consulate of Hungary
c/o Marintur
Jl. Raya Kuta 88R
Kuta - Bali 80361
Indonesia
TEL: +62-361-757552; FAX: +62-361-757262

Honorary Consulate of Italy
Gedung Lotus Tours & Travel
Jl. Ngurah Rai
Jimbaran - Bali
Indonesia
TEL: +62-361-701005; FAX: +62-361-701005;
Email: italconsbali@italconsbali.org

Honorary Consulate of Mexico
Jl. M. Yamin 1A, Renon
P.O. Box 3150
Denpasar - Bali
Indonesia
TEL: +62-361-223266; FAX: +62-361-244568

Honorary Consulate of The Netherlands
P.O. Box 3337
Denpasar - Bali 80001
Indonesia
TEL: +62-361-751517; FAX: +62-361-752777

Norway -- See Denmark

Honorary Consulate of Spain
P.O. Box 3237
Denpasar - Bali 80032
Indonesia
TEL: +62-361-975736; FAX: +62-361-975726

Honorary Consulate of Sweden & Finland
P.O. Box 3091
Denpasar - Bali 80030
Indonesia
TEL: +62-361-288407; FAX: +62-361-287242

Honorary Consular Agency of Switzerland & Austria
P.O. Box 2035
Kuta - Bali 80361
Indonesia
TEL: +62-361-751735; FAX: +62-361-754457;
Email: swisscon@denpasar.wasantara.net.id

Honorary Consulate of the United Kingdom
Jl. Mertasari 2
Sanur - Bali 80227
Indonesia
TEL: +62-361-270601; FAX: +62-361-282968;
Email: bcbali@dps.centrin.net.id

Consular Agency of the United States of America
Jl. Hayam Wuruk 188
Denpasar - Bali 80235
Indonesia
TEL: +62-361-233605; FAX: +62-361-222426

Air lines Serving Bali

2008-07-25T06:39:00.000-07:00

Air Asia
(0361) 227-999

Air France
(021) 8089-9000

Air Paradise
(0361) 756-666

Australian Airlines
(0361) 758-686

Bouraq Indonesia
(0361) 241-397

British Airways
(0361) 288-511

Cathay Pacific
(0361) 766-931

China Airlines
(0361) 754-856

Continental Airlines
(0361) 768-358

Eva Air
(0361) 759-773

Garuda Indonesia
(0361) 270-535

Japan Airlines
(0361) 757-077

Korean Air

Lion Air
(0361) 236-666

Malaysian Airlines
(0361) 764-995

Mandala Airlines
(0361) 499-402

Merpati Nusantara
(0361) 235-358

Qantas
(0361) 288-331

Royal Brunei Airlines
(0361) 757-292

Singapore Airlines
(0361) 768-388

Star Air
(0361) 753-775

Thai Air
(0361) 288-141

Currency

2008-07-25T06:14:00.000-07:00

Bali Calendar

2008-07-25T06:05:00.000-07:00

Calendar

Adventure

2008-07-25T04:51:00.000-07:00

BALI BIRD PARK & REPTILE PARK
Address: Jl. Serma Cok Ngrh. Gambir, Singapadu.
District: Gianyar

BALI ZOO PARK
Address: Jl. Raya Singapadu, Sukawati
District: Gianyar

BUTTERFLY PARK
Address: Jl. Batukaru Sandan Wanasari
District: Tabanan

WEST NATIONAL PARK
Address: Jl. Raya Cekik, Gilimanuk
District: Jembrana

BALI SAFARI & MARINE PARK
Address: Jl. Bypass Prof. Dr. Ida Bagus Mantra
District: Gianyar

BOTANICAL GARDEN BEDUGUL
Address: Ds. Candikuning, Baturiti
District: Tabanan

INDONESIA JAYA REPTILE PARK
Address: Ds. Mengwi
District: Badung

AYUNG RIVER RAFTING
Address: Jl. Diponegoro 150-B
District: Denpasar

SOBEK BINA UTAMA
Address: Jl. Tirta Ening No.9
District: Sanur

BALI RAFTING
Address: Jl. Bypass Ngurah Rai No. 297
District: Sanur

BALI ADVENTURE RAFTING
Address: Jl. Bypass Ngurah Rai Pesanggaran
District: Sanur

MEGA RAFTING
Address: Jl. Hayam Wuruk No.144
District: Denpasar

BALI INTERNATIONAL RAFTING
Address: Jl. Bypass Ngurah Rai Padanggalak
District: Sanur

ELEPHANT TRACKING
Address:
District:

WATERBOM BALI
Address: Jl. Kartika Plaza Po Box 1055
Tuban-Bali

THE UMALAS (HORSE RIDDING)
Address: Jl. Lestari No.9X Br. Uma Alas Kauh
District: Kerobokan

About Bali

2008-07-25T04:22:00.000-07:00

One of the most popular tourist destinations in the world, Bali for few years awarded as the world best island by The International Travel Magazine. There, however, are still many people who do not know in depth about the uniqueness of Balinese culture. Life in Bali is always related to "Tri Hita Karana" or a tripartite concept that include the spiritual relationship between human and God, and their environment.

The rapid growth of development in tourism has had a big impact and influences to Bali tradition and lifestyle. Interestingly, Balinese culture is still as what it was, growing along with the of globalization. It is the Balinese civilization what makes the island different from other destination.

GEOGRAPHY
Among 17,500 islands across the Indonesian archipelago, Bali is one of the 33 provinces of the Republic of Indonesia, the largest archipelagic country in the world, made up of 2,000,000 km2 of land with a chain of islands stretching over 500,000 km from Sumatra to Papua, and covers territorial waters of more than 5,000,000 km2.

Situated between Java and Lombok, the island of Bali is located 8 to 9 degrees south of the equator with the Java Sea to the north, the Indian Ocean to the south. Bali’s covers an area of 5,636 km2 or 0.29% of Indonesia, measuring just 90km long the north-south axis and less than about 140km from west to east.

Divided into three areas of water, the North Bali Sea is about 3,168km2, the East about 3.350km2, and the West about 2,982km2. Bali Sea covers an area of 9,500km2. The North Bali sea runs along the coastline of Buleleng, the East Bali Sea runs along the coastline of Karangasem, Klungkung and Gianyar, and the West Bali Sea include the coastline of Badung Tabanan and Jembrana.

TOPOGRAPHY
The province of Bali is divided into nine regencies (eight regencies and one municipality) with its own capital. Buleleng covers an area of 1,365.88 km2 or about 24% of the Bali’s land. Jembrana covers an area of 841,80 km2 or about 14.94%, Karangasem 839,54 km2 or about 15% of Bali’s land, Badung 420,09 km2, Denpasar 123,98 km2, Gianyar 368 km2, Klungkung 315,00 km2 and Bangli 520,81 km2 or about 31%.
The topography of Bali is formed by a mountain chain that stretches from west to east splitting the island into two parts. Some of the volcanic peaks are active, including Mount Agung, 3,142m, the tallest point above sea level, and mount Batur 1717m. Some barren peaks include mount Merbuk, Patas, Seraya, Prapat Agung, Klatakan, Sanghyang, Mesehe, Musi, Lesung, Tapak, Adeng, Pengiligan, Catur, Penulisan and mount Abang. The north side of the mountain slopes is fairly steep, creating narrow lowland along the coastal area. Meanwhile, the south slopes are much leaner, forming a fertile plain that becomes the main center of Balinese culture. Some of the most beautiful white sandy beaches are in the south, including Sanur Beach, Kuta and Nusa Dua. The south slope also is home to four lakes, i.e. Lake Buyan (367 hectares), Lake Tamblingan (115 hectares), Lake Beratan (376 hectares) and Lake Batur (1,605 hectares).

PEOPLE AND LIFE STYLE
Bali’s population of over 3,000,000 souls spread over the whole island, including those in the smaller islands of Nusa Penida, Nusa Ceningan, Nusa Lembongan, Serangan and Menjangan Island. The overwhelming majority of Balinese are Hindus, with the increasing number on non-Hindu migrating from the closest neighboring islands of Java and Lombok. The coastal areas in the south are the most populous area with over 370,000 people living in various professions in the capital of Denpasar. Farming has been the primary way of living in Balinese life. Where else fishing, trading and craftsmanship are also in fashion from generation to generation. Yet with the fast growing of tourism since past few decades, young people start to build up a new touch in their living culture. Life in Bali is very communal under the organization of villages. Temple ceremonies, marriage, cremation, farming and even the creative art festivals are decided by the local community institution called “Banjar”. The responsibilities in the day-to-day life are normally administered by both the Banjar and the government. The local government mostly responsible for schools, health clinics, hospitals and roads, and Banjar is responsible for all other aspects of life. There is another association exists in the banjar named “Subak” that concerns to the production of rice and organizes the complex irrigation system. Every family who owns a rice field must be a member of their local Subak, which then ensures that every member gets his fair distribution of water. A banjar consists of an average of 50 to 150 family members, owning a meeting venue called the Bale Banjar, which is used for regular gatherings and a center for local gamelan orchestras and drama groups.

ECONOMY
As the most populous area of the island the southern part Bali is where most jobs are to be found, mostly in the hotel or tourist industry, aside from the major farming industry. Smaller scales of home businesses are also in the trend such as textile or garment, handicrafts and souvenirs, providing Bali's economy with more than 200,000 jobs, and exports have been increasing around 6,7% (data August 2006 – August 2007) valued at around US$ 380 million. Of the total foreign exchange earners, textiles and garments contribute about 27,4% and wood products including statues, furniture and other handicrafts 18,2%. Silver work is ranked third 0,41% with 4,500 workers employed. And this sector keep growing steadily with target market widely open on the US, Europe and Japan. Rice has become an important agricultural product besides vegetables, fruits, coffee, copra, vanilla, soy beans and chilies. Most recently vineyards also can be found along the north coast line. Meanwhile fishing and seaweed farming are also important commodities for foreign markets. It is interesting to observe the ability of the people of Bali in coping with the globalization era which acquires professional skills.

HISTORY
Bali has a long chain of history from the ice-age era (pre-historic time) to modern, global civilization era. With a dynamic characteristic indicating selectivity and flexibility, the Balinese culture initially reflects a configuration of an expressive culture dominated by religious, solidarity and aesthetic values. Nowadays, it develops along with the adoption of foreign values especially in the aspects of the economic, science and technology, as a result of the global modernization.
In general, the history of Bali is divided into three different eras including the pre-historic, the Hindu-Buddhist era and the modern culture. The pre-historic marked the oldest and simplest way of life, an era of hunting and food-stuff gathering, verified by the discovery of several tools and hunting equipments. In the following era there were also building construction system and a particular communication system. These were just proofs of the existence and further development of Balinese culture. The Balinese culture flourished that nowadays one can indicates a perfect bonds between religions, tradition and culture to become the identity of the Balinese community. The Dutch seamen were the first Europeans to arrive on Bali and started to introduce western culture in 1597, though they hadn’t discovered any appealing aspect until 1800s. Around 1846 the Dutch returned with colonization in their minds, having established a strong political base as majority of the Indonesian islands were under their control since the 1700s. The military campaign embarked from the northern coast of Bali. With the help of Sasak people of Lombok, by 1911, all Balinese principalities were under the Dutch control. The sense of Indonesian nationalism began to grow after the World War I, with the young generation declaring the national language in 1928, known as Bahasa Indonesia. During the height of World War II the Japanese arrived, expelling the Dutch and ruled the country for about 3.5 years, which ended later in 1945 when Indonesia declared independent led by its very first president, Sukarno. Yet the new-born nation was only recognized by the international community as an independent country in 1949.

CLIMATE
With sunshine shining throughout the year, Bali has a tropical monsoon climate, with pleasant day temperatures between 20 to 33 degrees Celsius or 68 to 93 degrees Fahrenheit. Rainy season starts from October to March, when the West monsoon brings heavy showers and high humidity. June to September is considered the driest season, with low humidity and it can be fairly cold in the evenings, the best time for any outdoor activities. Something unique can be found about climate in Bali. Even when it rains most times in the most parts of Bali you can often enjoy sunny days on the "Bukit", the hill south of Jimbaran. On the other hand, you may expect cloudy skies and drips throughout the year in Ubud and the mountainous areas. Most interestingly perhaps, the international weather reports for "Denpasar" or "Bali" mention showers and rain storms all times of the year. In higher regions such as in Bedugul or Kintamani you'll expect to wear either a sweater or jacket when evening falls.

FLORA AND FAUNA

Flora
Just like common tropical islands, in Bali you will find a wide variety of plants by surprise. Huge banyan trees are everywhere in the villages by the Bale banjar or pavilion, or temples ground. Tamarind is also a typical Balinese tree mostly found in the north coast, as well as clove at the highlands. Meanwhile acacia, flame tree and mangrove can be found along the south coastlines. Craft and house use basketries, a dozen species of coconut palms and varieties of bamboos are also everywhere across the island. Flowers families are just as surprisingly as the variety of big plants. The most common are hibiscus, bougainvillea, jasmine, and water lilies. Magnolia, frangipani, and a variety of orchids are found in many front yards and gardens, along roads, and in temple grounds. In the day to day life flowers are routinely used as decorations in temples, on statues, as offerings for the gods, and during prayers. Dancers wear blossoms in their crowns, and flowers are worn behind the ear during ceremony sessions.

Fauna
Like some other parts of Indonesia, Bali was home for big mammals such as elephant and tiger, although they no longer exist since early of last century. However, Bali still is rich of wildlife with the existence of various species of monkeys, civets, barking deer and mouse deer. There are 300 species of birds occupy the island including wild fowl, dollar birds, blue kingfishers, sea eagles, sandpipers, white herons and egrets, cuckoos, wood swallows, sparrows, and the endangered Bali starlings. The underwater world or marine life of Bali has been noted as one of the best in the world with various species such as dolphin, shark and sun fish, and some smaller inhabitants like colorful coral fish, small reef fish, and moray eels, as well as crustaceans and sponges.
The existence of these flora and fauna become necessary for the day to day life of Balinese, where ceremonies and rituals always flourish.

HOW TO GET TO BALI
With the increasing number of direct flight to Bali from some other parts of the world, it makes it easier to go to Bali. From Bali, flight to Jakarta is about 1.5 hours, to Singapore and Perth (Australia) 2.5 and 3 hours, to Hong Kong about 4.5 hours, and to Sydney/Melbourne about 5.5 to 6 hours, with various airlines offering their services. Please check at "airline info" for more information about flight schedules. Just make sure you look for "Denpasar (DPS)" instead of "Bali" in airline time tables. It is the capital of Bali. Or you can check your "Travel Agents" for more travel arrangements and accommodation.

LOCAL TRANSPORTATION
Because of the size of the island, it is not difficult to get around Bali by various modes of transportation. The traditional types of transportation to the high class limousine are available for tourist to choose. Not to forget the sea transportation that connect Bali to some of its sister islands. However, train does not exist in Bali.

Bemo : this is the most used transportation in Bali especially in the city of Denpasar. It is a miniature van with a routine route set by local government periodically. This type of transportation is good for short distance around town and cities, because of its size and passenger can get in and out at any point. Most importantly, it is cheaper compared to some other type of transportations, even though fairly slow. Price ranges usually around Rp 3,200 to Rp 4,000 per one stop over.

Buses : there are buses for transportation between towns that relatively bigger compared to bemo. These buses connect all towns and most places of the island through local bus stations. Likewise bemo, buses also can be stopped at any point of the routes. They mostly operate day time inter island, but some are available at night for long distances within cities. Fares are between Rp. 1.500 to Rp. 10.000 per one stop point.

Taxi : Taxi is the most efficient and convenience transportation in the island. Either chartered or metered one, they are everywhere and quite inexpensive compared to some other countries. In Bali there are some different companies providing taxi services.

Rental Cars, Motorbikes and Bicycles : If you plan to explore Bali in half day or full day trip, the best way is hiring a car with the driver. The average rate is from Rp 120,000 to Rp 300,000 a day depending on the type of the vehicle. There are many independent car rentals around the island. If you wish to have better services, you can go to a Travel Agent. You even can hire a tour guide of your own language. The other possibility is to rent a self drive car. An international driving license from your own country is required. This rule also applicable for motorbike rental, but in some cases you can get a temporary permit at local police office. Price ranges are around Rp. 35,000 to Rp. 50,000 per day for motorbike and Rp. 15,000 for bicycle. Likewise, a safety helmet is a compulsory when you ride a motorbike. Meanwhile, bicycles are normally available for rent at hotels. Some bigger resorts even provides bicycle tour for free including a professional tour guide.

Dokar : in many areas of Indonesia, a traditional horse and cart transportation still can be found in many different versions. In Bali, this kind of transportation is known as “dokar”. Nowadays, the use of dokar is simply limited due to efficiency. In some areas dokars are even prohibited by the government because it becomes a dwindling sight around the street. A dokar ride can be a fairly bumpy and unique experience. That is why some hotels and event organizers sometime offer a dokar ride for their guests, wedding couples or special groups.

Sea transportation : to travel to some sister islands of Bali famous for their marine activities, local cruises is the most convenient. They normally offer a tour package including meal, activities and even a resort to stay over night. Some traditional boats are also in service for shorter distances such as to Serangan or Menjangan island.

Bali Tourism Information Center

Barong Hotel Kuta

Alam Kulkul Boutique Resort

Map of Bali

THE PARADISE PARADOX

Romantic Westerners once sold Balinese culture to the globe. Now locals wonder if their island is becoming a giant theme park

Ubud, the Heart of Bali

It's Time to Die for Bali bombers

Sanur

Regular Event

Kuta Legian/Seminyak

BACIO Blue Ocean Boulevard - An exclusive club/lounge (with dress code) next to Double Six Club. Fancy and funky!

BLUE NIGHT CLUB @ CONTIKI

THE BOUNTY SHIP

DEEJAY CAFE @ Paradiso Bowling

DEJA VU

66-DOUBLE SIX BAR & RESTAURANT

F-LOUNGE

GADO GADO RESTAURANT

HARD ROCK CAFE

HU'U BAR

KAMA SUTRA

KU DE TA

KORI RESTAURANT & BAR

M-BAR-GO

OBSESION

THE WAVE

Sanur

JAZZ BAR & GRILL

KAFE WAYANG RESTAURANT + BAR

SECTOR BAR & CLUB

Ubud

EXILES

News on July 2008

History of Bali

Restaurants

Accomodations

Joged

Tanah Lot - Natural beauty, history, and legend

Bali Wayang, the Puppet Theater

Bali Dance

Bali Music

BalI Drama

Beliefs, Ceremonies, Cycles of Life and Rites of Passages

F ood & Drink

Architecture

Sightseeing

Balinese Art & Culture

Miscellaneous Tips

Hospital/Clinic

Health in Bali

Government Tourism Offices

Immigration and Visas

Consulates in Bali

Air lines Serving Bali

Currency

Bali Calendar

Adventure

About Bali

BACIO
Blue Ocean Boulevard - An exclusive club/lounge (with dress code) next to Double Six Club. Fancy and funky!