Tourism Information

The Taman Budaya Art Centre

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The Art Centre (Wedhi Budaya) complex, commenced in 1969 and officially opened for use in 1973, is located in Nusa Indah street.

On entering the Art Centre complex one is confronted by two entrances. On the left, in a style reminiscent of Japan, is the "Rinchui Sakura" and on the right, is astructure called "Candi Bentar".
The Candi Bentar represents "exaltedness" and is often found in temples and palaces of royalty of bygone days. This structure is often found when entering village districts and also at points of entry into the province of Bali such as at the pmts of Gilimanuk, Benoa and Padangbai.
The Candi Bentar of the Art Centre, in keeping with tradition, represents the desire to preserve, nurture and exalt the arts of Bali.
Having entered the five hectare Cultural Park (Taman Budaya) a variety of buildings are visible built in the traditional Balinese style, the creation of the very talented architect Ida Bagus Tugur. The entire complex is divided into five building complexes with ponds, gardens, bridges and walkways connecting the various areas.
The various building complexes are known as: "Mahudara Mandhara Giri Buwana", used as the main building, housing a permanent art exhibition: "OnceÇrawa", used for occasional work shops and exhibitions: "Amerta Saraswati", housing the library: "Ardha Candra ", used for open-air performances, and finally the indoor stage: Ksirarnawa.
Besides these buildings there is the "Wantilan" (Wantilan = open air hall) which is outside the overall plan of the Art Centre complex. The Wantilan is used to hold performances where intimacy between performers and audience. (e.g. dance) is desired. This is made obvious when, on completion of the performance, the performer takes a seat amongst the "inactive" audience and proceeds to partake of the offered betel nut and cigarettes.

The Main Building (Mahudara Mandhara Giri Buwana): to gain access to the main double - storey building one passes over the "Gajah Mina" bridge. The Gajah Mina is a mythical creature, being a fish with the head of an elephant. Before entering the stairwell through the "Kori Agung" (Kori = door, gate; Agung = large, grand), which leadsto the exhibition building, one passes the heads of two mythical serpents (Naga); Naga Basuki and Naga Ananthaboga which seem to welcome every visitor to this complex. All these creatures and the names of the complexes derive from the Adi Parwa philosophy (Mahabharata epic) which is actually a part of a story about Mount "Mahudara Mandhara Giri Buvana".

East of the Main Building is the Balai Kambang (balai = building) situated on a pond. The view from the Balai Kambang looks out on the pond and the beautiful surrounding gardens contained within the Taman Udiyana Ratnalaya (taman = park, garden). Three statues are found at the eastern perimeter of the pond; the statue of Beghawan Gangga flanked by the images of Dewi Gangga Soma, protector of seas, riversand lakes,and that of Dew; Giri Puteri, protector of mountains and springs.

The Library (Amerta Saraswati).

In the library, situated beyond the oval stage, are found the valuable lontars (Iontar palm = leaves of which are used traditionally as paper) and books which are made accessibie to the public to read on the premises. There is an ideal resting spot in the "Balai Slunding" near the Pura, (pura = temple) which stands nearby and existed long before the Art Centre was conceptualised.

The Open Theatre (Ardha Candra)

This semi-circular theatre with a seating capacity of seven thousand derives its name from the shape (Ardha = half; Candra = round, moon). The theatre is used to stage anything from traditional classics in dance and modern variations of the classics to the works of contemporary choreographers.

The stage, lit from a traditional Balinese styled tower, has two dressing rooms, the left one, Candi Paduraksa, is used as the performers entrance to the stage.

The space beneath the tiered viewing area is used for an art shop, cafetaria and exhibition room and sited near the entrance are two smaller oval stages used to perform folk drama and "cak" dances. Indoor Stage: Ksirarnawa.

Just on the morning before the 8th Bali Art Festival was to be opened (June 14, 1986). Minister of Education and Culture Dr. Daud Yusuf dedicated officially the new Ksirarnawa - the Indoor Stage Building, on the west side of the Ardha Candra.lt has two floors: the upper is the stage with 800 capacity built in a combination of modern and Balinese styles. The first floor consists of rooms-in the west and east side for permanent or temporary exhibitions, and a lotus shaped pond is located at the centre. Four garuda (eagles) and eight white apes guard the four entrances to this stage. Ksirarnawa (Milky Ocean) is a name taken also from the process of gaining the Tirtha Amertha -the Holy Water in the Great Adi Parwa story.

It is this complex that every year hosts the month long Bali Art Festival in the months of June and July.

Tips for Your Holiday in Bali

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Is this your first holiday in Bali? It is a best decision to spend your holiday in Bali, an island of thousands temples. But, before you start your day in this beautiful island, there are some tips that you need to know:

Attending Ceremonies: Remember these are serious occasions and should be treated as such. Religious guidelines:
1. Always wear a sarong and sash.
2. Do not walk in front of people that are praying.
3. Do not use a flash camera or point your camera into the priest’s face!
4. Never sit higher than the priest or the offerings.
5. At cremations, do not get in the way of the attendees - however important that photographic opportunity is!
6. Women are not allowed to enter temples during menstruation.
N.B.When attending Special Ceremonies or Anniversary Celebrations as a guest or onlooker, small donations is gratefully received. Your donations will help in paying for the offerings and upkeep of the temple.

Dangerous sports: Make sure you either have personal insurance or travel insurance that will cover any accidents!

Driving: In Bali, always expect the unexpected, always keep your eyes open and your mind on driving. Beware of motorbikes! It is best to rent a car with full insurance as this will save time and money if you are involved in an accident.

Money Changers: Be very careful when changing your money. Always check the rate of exchange and commission (if any). Most importantly, always count your money before you leave the premises and, if you can, bring your own calculator as the ones used by some places can be a little ‘inaccurate’.

Petty Crime:
a.) There have been a few cases of handbags being snatched after tourists have cashed money at Banks or Money Changers! Put your money away in your ‘bum-bag’ or hold onto your hand- bag tightly!!!
b.) When changing large amounts of money please check each note carefully as there are a number of (noticeably) fake notes in circulation.
c.) When trying on garments do not take your jewelery off and leave it lying around - give it to a friend or leave it in the hotel safe.

Swimming in the sea: Currents and undertows can be strong. Always swim between the red and yellow flags and don’t swim too far out! Please, do not leave your belongings unattended on the beach.

Thank you for respecting these suggestions

Bale Kulkul in Balinese Architecture

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The bale kulkul is a tower-like structure and usually occupies a prominent position in the village. The kulkul itself is a percussive device consisting of a hollow piece of timber with a slit in one side. It resonates when struck, rather like a wooden tubular bell, and is beaten to summon the local community to assemble. Different rhythms indicate the specific reason for the summons-for example, a meeting of household heads at the bale agung, or, in the past, a call to arms.
The building in which the kulkul is housed–it usually suspended from the rafters of the roof-may be simple or elaborate, depending on the wealth of the community. The more extravagantly ornamented examples showcase the skill of the local stonemasons.

Balinese Palaces

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In traditional Hindu cosmology, the territory of the kingdom was conceived, in symbolic terms, as replicating the universe as a whole, a microcosm of the macrocosm. In this respect, the seat of the ruler, which ideally was situated at or near the geographical centre of the kingdom, was seen not only as the ultimate source of temporal power but also as a cosmological and ritual centre. The two aspects of power went hand in hand, for the ruler in Classical Indonesia was regarded as divinely appointed.

Balinese Kongdoms

Following the conquest of Bali by the East Javanese Majapahit kingdom in the early 14th century, a vassal king was installed at Samprangan, near present-day Gianyar, who owed his allegiance to Java. The island was effectively a dependency of Java until the start of the 15th century, but, as Majapahit fortunes waned, Bali gradually gained its autonomy from Java and, following the collapse of Majapahit in the early years of the 16th century, grew to be an imperial power in its own right under the leadership of king Waturenggong. By the end of the next century Bali had fragmented into several lesser kingdoms. These survive today as eight regencies (kabupaten), Bali`s local government departments.

At the Centre

The palace (puri) of the local dynastic ruler (raja) and his family should be auspiciously sited, ideally within the kaja-kangin quadrant formed by the crossroads at the centre of town. In practice, local circumstances and history may determine otherwise. For example, there may be more than one palace complex. At Karangasem, an older palace was left by the founders of a new dynasty to senior relatives, while for younger relatives; where two earlier palaces occupy the centre of Bangli, the principal one is situated in the town`s kaja-kangin quadrant.

Palace Layout

The palace resembles the basic pattern established for the residential compound of the common man, for it is laid put according to the same rules of the Balinese compass rose. For palaces, however, the grid-like division of the area enclosed by the perimeter walls is given a physical reality, with walls and doorways dividing the palace precincts into a series of the interconnected courtyards.

The Dynastic Temple

The kaja-kangin sector of the grid is occupied, predictably, by the family temple (pemerajan) of the ruler, which in this instance forms a kind of cosmic centre of the public on ceremonial occasion and is approached from the kauh side of the palace complex via two intermediary courtyard (jaba and jaba tengah). The first of these should ideally be situated on the western side of the palace complex and is entered from outside the palace walls via a ceremonial, split gateway (candi bentar). The second courtyard is used for the preparation of offerings and the reception of guests attending palace ceremonies. This courtyard is completely enclosed on all sides and is entered from the outer courtyard by another ceremonial gateway called a kori agung, which has a lintel and doors that can be shut. The kori agung is usually quite an ornate structure, with statuary and carvings intended to deter malevolent influences from entering the inner sanctum of the royal temple. The aling-aling wall inside the gateway is also decorated with reliefs, which often allude the date of construction. The door way the kori agung is opened only on ceremonial occasions, with every day access afforded by a smaller, less elaborate door to one side.
The sanctum sanctorum of the royal family temple (jero-dalem) contains the ancestral shrines of the ruling dynasty, which are much the same as the other family shrines except that they are usually more numerous and more elaborately ornamented.
There will also be meru towers dedicated to the gods. The number of tiered roofs (tumpang) is always uneven; the exact count depends on the nature of the deity to whom the structure is dedicated and the status of the person responsible for its erection. For example, a raja who dedicates a meru to Siwa is entitled to build the maximum number of tumpang-eleven.

Raja`s Residential Quarters

The most important of the three residential courts that occupy the central row of the palace complex is the middle one, which is where the raja and his family live. A wall bisects the court along an east-west axis and symbolizes the division between the public and private lives of the ruler.
The kelod half (pelataran rangki) is the public domain and is reached by members of the public from the kelod end the palace complex. This court has a bale gede where important lifecycle rituals relating to members of the royal family take place and there is also likely to be a pavilion to house important guests.
The kaja half of the central court is called the saren agung and this is occupied by the ruler and immediate family. The main building here is the living quarters (ukiran) of the raja himself. This should ideally be located exactly in the middle of the palace complex where it is divided in two by the wall that separates the central courtyard into its kaja and kelod halves. In this respect, the ukiran is located on the border of the public and private domains. The ukiran`s distinguished status is signaled by its pointed roof; all the other buildings have hipped roofs, except for the family shrines and the meru towers.

The Royal Family Members

To the east of the most central court lies the saren kangin, the residential quarters for the royalty not in the ruler`s immediate family-usually an order branch of the incumbent royal family. The basic layout of the saren kangin resembles the typical residential compound, arranged around a central natar, with family shrines in the kaja kangin corner, an umah meten to the west of this and a bale gede to the east. The western counterpart of the saren kangin is the saren kauh, where junior members of the royal family live-for example, the raja`s younger brother.

The Balinese Village

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The Balinese village us described by the world desa. This denotes both the settlement and its immediate physical environs ( tanah desa) and at the same time refers to a religious community made up of local householders and their families who are responsible for maintaining the ritual purity and spiritual well-being of the tanah desa.
The latter is achieved by observing the local customary laws (desa adat) and by participant in the cycle of religious ceremonies that take place at the village temples.

Village Layout

The Balinese village is laid out on a kaja-kelod axis running between the mountains and the sea, often in defiance of local topographical considerations.
The approach is signaled by a candi bentar (split gateway), with the road typically executing a sharp S-bend a little after this. Like the aling-aling `blind` wall immediately inside the entrance to the S-bend strategy outside it is another tactic intended to prevent malevolent spirits from entering the village –the spirits are said to hall (bale agung) and a drum tower (bale kulkul ), for summoning the community to meetings. There may also be a special pavilion for holding cockfights. This is called a wantilan and is often quite an impressive structure with a soaring roof and elegant columns.

Kahyangan Tiga

Balinese villages should ideally have at least three temples, which between them serve the religious needs of the community. In addition to the main village temple, which is situated at the centre of the village, there is also a temple honouring the founding fathers of the community and another dedicated to the dead.
Their respective locations, in relation to the centre of the village, can be understood in the context of Balinese ideas of ritual sancity and pollution: the ancestral temple (pura puseh) is placed at the kaja end of the village as benefits the deified status of the community founders, while the temple for the dead, the pura dalem, is located at the kelod end, reflecting the polluting nature of death. By the same reasoning, the community graveyard and cremation ground too are, typically, situated nearby.
The practice of having three village temples is said to have been begun by Mpu Kuturan, the revered Javanese priest, sage and temple architect who was responsible for a reformation of Balinese Hinduism during the 11th century, at a time when the religion was in decline. The three temples are known collectively as the kahyangan tiga and they are identified with the Hindu trinity of Brahma, Vishnu and Siwa.

Ornamentation and Iconography in Balinese Temples

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Balinese temples are enlivened by a variety of stone sculpture and relief which to the Western eye have an almost baroque or rococo quality. The original inspiration for many of the statues and motifs may have come from India, but everywhere they have been subjected to strong local influences which over centuries have given rise to a uniquely Balinese artistic tradition.

The basic material used for stone carving is a soft volcanic sandstone, or tuff, which has a very plastic quality and lends itself well to being shaped by the stone mason`s chisel. Equally, it deteriorates fairly rapidly when exposed to the elements and Balinese temples are in a constant process of renovation and renewal.

A Balinese Iconography

One of the most striking images in Balinese temples is the face of a leering monster, which lolling tongue, bulging eyes and ferociously large canines, which is typically found over the monumental gateway (kori agung) leading to the innermost courtyard. This demonic visage is the face of the bhoma, whose fearful countenance is intended to drive away malevolent influences the temple precincts.

Less important locations are augmented with karang bintulu-a monstrous single eye which stares unblinkingly over a dental arcade of upper teeth with extended canines. This motif is typically surmounted by an image of a mountain-a representation of the legendary Mount Meru which stands at the centre of the Hindu-Buddhist universe and is identified in Indian mythology as the abode of the gods.

Corner motifs include karang curing, which are composed by the upper part of a bird`s beak with a single eye and jagged teeth, or as an alternative, karang asti, the jawless head of an elephant. When the Mexican artist and author Miguel Covarrubias, who lived in Bali during the 1930s, asked why these images lacked a lower mandible, he was told that this was because they did not have t o eat solid food. Covarrubias comments:”This is, in my opinion, a typically Balinese wisecrack and not an indication of any such symbolic meaning”

Other decorative motif include border designs (patra) of which there are several kinds. The type known as patra olanda might have been inspired by Dutch sources, while the pattern known as patra cina, indicates Chinese origins.

Padmasana shrines and meru are typically decorated with geometric or foliate motifs, while the carvings or pavilions may include representations of animals and mythological beasts, or even the gods themselves.

The most important images are reserved for the walls and gateways for they divide the sacred precincts of the temple from the profane, secular world outside. Especially significant in this last respect are the reliefs which adorn the free-standing wall, or aling-aling, which is placed just behind the kori agung gateway as one enters the innermoust courtyard in the temple complex. The latter typically sports a rogues` gallery of demons and ogres who are intended to deter malevolent influences from penetrating the inner sanctum.

A Typology of Temples

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A conservative estimate reckons that there are some 20,000 temples in Bali. Most of the time they are deserted, watched over by a lay priest, or pemangku, who keeps the temple precincts clear of leaves and acts as a general caretaker. But every temple has its birthday festivals, or odalan, whose date is fixed either according to a 210-day ritual cycle, or alternatively the ancient Hindu lunar Saka calendar. An odalan may last for several days, and their principal aim is the ritual purification of the temple catchment area and its congregation. On these occasions, the temple becomes the centre of intensive activity drawing in the entire local community to participate in prayer and ritual supplication to the gods and to partake of the associated entertainments-gamelan performances, puppet theatre, dance drama, operetta and the like.

Temples for All Occasions

There are a great variety of temple types in Bali, each servings a different function. Every village, or desa, has three main temples which govern the religious life of the community. They are known as the kahyangan tiga and they are identified with the Hindu trinity of Brahma, Vishnu and Siwa. Other kinds of temples include pura panataran, or royal temples, which are usually incorporated as part of a palace complex, and private origin temples dedicated to the ancestors of a particular family- variously pura dadia, pura kawitan and pura padharman, depending in the genealogical depth being traced. There are also hill temples (pura bukit), sea temples (pura segara) and temples dedicated to the tutelary gods of seed (pura melanting) and markets (pura pasar). Each irrigation society-a collective of rice farmer who draw their water from a common source–will also have its own temple (ulun carik).

Sad Kahyangan

Especially prominent temples in the religious life of Bali are the `six great sanctuaries`, or `temples of the world` (sad kahyangan) which are recognized as the most sacred sites on the island. They include Pura Luhur Uluwatu at the westernmost tip of Bukit Penisula, Pura Goa Lawah near Kusamba, Pura Lempuyang Luhur in Karangasem, Pura Batukau in Tabanan and Pura Pusering Jagat in Pejeng. The most sacred temple of all is Pura Besakih, on the southern slopes of Gunung Agung, which is identified as the `mother temple` of all Bali. Other important regional temples include the `temples of the Sacred Ones-pura dang kahyangan-which are associated with the legendary Javanese priests who brought Hinduism to Bali.

King and Cosmos

In traditional Hindu cosmology, the political territory of a kingdom is conceived, in symbolic terms, as being coterminous with the universe as a whole, a microcosm of the macrocosm. In this respect, the seat of the ruler, which was ideally situated at, or near, the geographical centre of the kingdom, was perceived not only as the ultimate source of temporal power but also as a cosmological and ritual centre. The two aspects of power went hand in hand, the ruler, in Classical Indonesia, being regarded as divinely appointed (cakravartin).

The kingdom of Mengwi

The temple of Pura Taman Ayun was once the state temple of the kingdom of Mengwi which flourished in the 17th and 18th centuries. The actual sanctuary itself was founded in the mid-18th century and reflects and attempt to literally re–centre the kingdom following a power struggle between rival factions within the royal family. The ascendant house decided to consolidate its advantage by building a new temple complex at Taman Ayun, situated halfway along a line running between Gunung Pengelengan-the local Mount Olympus- and the coastal temple of Pura Ulun Siwi. In cosmological terms this point was identified as the `navel` (puseh) of the world, and axis mundi situated midway between the heavens and the Stygian seas.

Death and the Afterlife in Bali

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Death in Bali is considered to be both ritually polluting and contaminating. These perceptions are reflected in the location of the pura dalem -the community temple where funerary rites are held-at the inauspicious, seaward end (kelod) of the village and also a little to the west, the setting sun in Bali being identified with the passing of life. The community graveyard and cremation site are located nearby-the cremation ground is usually simply a clearing in the cemetery at most kelod end.

Pura dalem can often be spotted from some distance away by the presence of kapok trees (Ceiba pentandra), with their distinctive horizontal branches and cotton bearing pods, which are frequently planted in the vicinity.

Siwa, Durga and Rangda

Hindi deities are typically perceived as having a number of different attributes or guises and pura dalem are usually dedicated to Siwa in his destructive aspect, though Siwa is of course also conceived as a god of creative energies. This apparent conflict of interests between these dual natures is not so much a case of contradiction as one of complementarity, for death, in the Hindu scheme of things, is merely one stage in an endless cycle of reincarnation and in this last respect, it is a necessary prelude to rebirth.

The creative aspect of Siwa is often personified in his wife, Durga, but she too, like her husband, has a dark, destructive side to her, metamorphosing into the demoic with-like Rangda, whom the anthropologist Clifford Geertz describes as a “monstrous queen of the witches, ancient widow, used-up prostitute, child-murdering incarnation of the goddess of death”.

Death and the Fate of the Soul

There are a number of perspectives on the post-mortem fate of the soul in Bali. Some are mutually exclusive and would logically deny all other possibilities; others are more tolerant of rival interpretations. Two explanations, however, would seem to prevail in Balinese accounts of what happens to the soul after death.

The first of these supposes that the correct performance of mortuary rituals, including cremation, ensures that the soul, which at the moment of death is impure, will subsequently be purified, thus enabling it to merge with a collective ancestral deity. The Balinese are rather vague about the precise nature of this aggregate ancestral spirit, but it is sometimes said to be responsible for the spiritual welfare and general health and well-being of living descendants.

The second point of view assumes that the soul of the deceased is subject to divine judgment based on the relative merit, or moral discredit, of deeds carried out during the dead person1s life time. Depending on the final `score`, which is reckoned according to the laws of karma-pala (literally, `actions` and their `fruit`), the soul is then sentenced to a period in the afterworld-either Heaven of Hell as the case may be –before being reborn into the world of the living again.

Burial and Cremation

The pollution of death is reflected not only in the kelod location of the graveyard, but also in the degradation of being interred underground.
Should there be sufficient funds, an immediate cremation is preferred since this skips the burial stage. In the case of members of a royal family, it is considered unseemly that such an illustrious corpse should be placed in the ground, so the body is preserved, lying in state, in a special pavilion in the palace compound, until suitable preparations for a lavish cremation ceremony have been completed and there is an auspicious day in the Balinese calendar for the ceremony to take place. This lying in state period may be last for months, even years. Priests are not buried either, there being a ritual prohibition on their interment.

Creamation (ngaben) releases the soul from its ties to earth, returning the five elemental constituents of the body-earth, fire, water, air and space-to the cosmos. The ashes are thrown in a river or cast upon the sea, with the final mortuary sites being held some 12 days later (longer in the case of the triwangsa castes). These complete the Balinese cycle of death rituals, at which point the newly-purified soul becomes incorporated with those of the ancestors.

Kebyar Duduk Dance

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Like the Baris, the Kebyar is a soloexhibition dance, but of a more individualistic kind. The Baris portrays the movements of a generalized Balinese warrior. In Kebyar, the accent is upon thedancerhimself,who inter pretseverynuance of the music in powerful facial expressions and movement. Kebyar originated in North Bali around 1 920, but the man most often credited with its creation is the late Mario, a dancer whose superb performances of Kebyar remain unparalleled.

The most popular foftn 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 spppleness of the torso.

The music seems infused in the a dancer's body. The fingers bend with singular beauty to catch the light melodies of the metalphones, 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 who can not play every instrument of the orchestra; for to attain perfection, all the moods of the music-lyrical, idyllic, dark, ominous- must be reflected in the disposition and skill of the dancer. In Kebyar Trompong, the dancer actually joins the orchestra by playing a long instrument of circular knobbed kettles called the trompong, as he continues to dance and twirl the trompong sticks between his fingers.

AJ Hackett Bungy International

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Are you someone who likes extreme sport very much? Likes challenge? AJ Hackett is the only answer. If you want to feel the fun extreme sport in Bali, you can come to a place near Legian beach to take that challenge. The AJ Hackett Bungy International team will be pleased to offer you an unforgettable bungy experience. Our home is a 45 meter bungy tower situated minutes from the heart of Kuta, Bali. We offer a unique jump-zone, over our massive 5 meter deep pool which sits right on the beautiful Legian Beach.

Pigmy Bali Diving

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Pigmy Bali Diving offers some of the joyful and unforgettable diving in Bali waters for the divers around the world. Bali offers beautiful corals with many species of fish from colorful fishes, reef sharks to Mola Mola or sunfish, manta rays and steep walls full of color and beauty plus a unique shipwreck in a flourishing tropical marine life. Generally, Indonesia including Bali has good diving in both seasons (wet and dry season). Many creatures can be found in Bali waters, from nice soft & hard corals, many varieties of Indo-Pacific marine fishes and its a heaven for photographers.

Village Temples

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Balinese society is complex and multifarious, being divided by social hierarchies based on caste, occupation and descent. In the not so distant past, the life of the ordinary man, or commoner, was largely restricted to his village and its surrounding rice fields, while at a supra-village level there existed an upper crust of priest, noblemen and princes, organised into a ruling elite. These divisions are still in evidence today-though the plight of the common man is far less onerous –but they are mediated by the village temple system and the cycle of festivals associated with them, which periodically draw these diverse groups together as common participants in a shared ritual undertaking.

The Balinese Village

The Balinese Village is referred to by the term desa, which describes both the settlement and its immediate environs as a physical entity, and at the same time refers to a religious community, mad up of local householders and their families, who are responsible for maintaining the ritual purity and spiritual well-being of the village and its surrounding lands. The latter is achieved by observing the local customary laws (desa adat) and by participation in the cycle of religious ceremonies that take place at the village temples. The actual village itself, as a collection of house compounds, is subdivided into neighbourhoods, or wards (banjar), each of which have their own local temple (pura pamasakan). Every banjar has specific ritual duties to fulfill, not only in relation to its own neighbourhood temple, but also to the main village temples. Banjar members also act together in secular matters such as the maintenance of roads and the policing of the neighbourhood.

Pura Desa

Pura Desa are ideally placed in an auspicious location at the centre of the village-a position which is both towards the mountain (kaja) ad to the east (kangin). A sacred banyan tree is usually planted beside the entrance which often grows to enormous proportions, providing a shady centre at the heart of the community. A pavilion (wantilan) for cockfights is also located nearby the sacrificial shedding of blood (caru) plays a crucial role in Balinese rituals and contest are permitted on the occasion of a temple festival, though gambling is strictly prohibited, in theory at least, by the Indonesian government.

Village assemblies to discuss both ritual and secular matters are held every month, either at the pura desa itself or else at the village assembly hall (bale agung) nearby. One of the principal responsibilities of the village assembly is the organization of the anniversary celebrations (odalan) for each of the village temples. The latter fall every 210 days, according to the sacred wuku calendar, and are intended to ritually cleanse the village territory and purify the members of the temple congregation. Everyone in the villages is involved in the preparation of offerings and the organization of various entertainments such as gamelan recitals and shadow puppet performances which are held for the enjoyment of the gods and mortals alike.

The Nirartha Legacy in Bali

2008-08-17T02:46:00.000-07:00

The promulgation of Hindu and Buddhist doctrines in Bali is attributed to a number of key historical figures typically Brahman priests from Java and their disciples or descendants. A famous early example is the 11th century reformer Mpu Kuturan (actually more of a Mahayana Buddhist than Hindu Brahman), but perhaps the most renowed of all is 16th century Javanese priest Danghyang Dwijendra, otherwise known as Nirartha. Nirartha came to Bali from Kediri is East Java, in 1537, in the aftermath of the collapse of the Majapahit empire. Legend has it that he made the crossing from Java on leaf of the keluwih tree. Upon landing near Negara in the kingdom of Jembrana he sat down to rest under an ancak tree-the ancak is a relative of the banyan under which the Buddha famously meditated-and his followers subsequently built a temple on the site, the Pura Ancak, today`s Pura Prancak. The Newly Arrived Magically Powerful High Priest Nirartha was invited to settle in Mas by local prince, Mas Wilis, but news of his teachings soon reached the ascendant royal house of Gelgel and an emissary was dispatched to bring the Padanda Sakti Wauh Rauh or ` Newly Arrived Magically Powerfull High Priest`, to court.

Once installed at the palace of Gelgel, Nirartha concentrated on matters of ritual practice, especially those connected with marriage, pregnancy, childbirth, death and the post-mortem purification of the soul. He still found time, however, to embark upon several missionary journeys through Bali, Lombok and Sumbawa. During his travels he founded many temples, while the children of his several marriages, both in Java and in Bali, became the progenitors of important Brahman clans, whose descendants still rank among the most important Brahmana families in Bali today. Nirartha`s Temple Building Programme Between 1546 and 1550 Danghyang Nirartha traveled all over Bali, teaching as he went and founding temples along the way. The famous temple of Tanah Lot, in the former kingdom Tabana, is one such sanctuary. It is said that on one of Nirartha`s journeys round Bali, he chose to sleep at this unusual rocky outcrop on the shores of the Kingdom of Tabanan and later recommended that a temple be built there. A Passion for Padmasana As well as founding new temples, Danghyang Nirartha also encouraged the building of Padmasana at many of the existing temples he visited. These he dedicated to Ida Sang Hyang Widhi Wasa, the Supreme Being or Ultimate Godhead. The Padmasana at the Pura Taman Puleh, in Mas rests on top of a stone turtle, representing the mythical earth-supporting chelonian, Bedawang Nala. The two serpents coiled around the latter`s body are said to stand for man`s earthly needs. The last padmasana to be built by Danghyang Nirartha was at Pura Uluwatu on the western most tip of the built Peninsula, and it was here that he achieved his apotheosis, or liberartion (moksa), from the endless cycle of rebirth, to become one with the infinite.

Sacred Rice and Subak Temples in Bali

2008-08-17T02:15:00.000-07:00

Rice and its cultivation are central to the Balinese way of life. In Balinese eyes, rice is a gift from the gods-it was created by the Hindu deity Vishnu who then presented it to man as his divine patrimony. In this respect, rice is a sacred thing whose cultivation entails not only planting and looking after the crop as it grows towards maturity, but also requires the careful implementation of a set of ritual procedures first laid down by the god Indra. Subak Associations The modern Balinese farmer grows two crops of rice each year in irrigated, terraced rice fields which for many are the definitive feature of the Balinese landscape. Water sources in the mountains are directed to each individual rice field by an intricate network of channels and aqueducts, whose maintenance and regulation are governed by local cooperative organizations called subak. Each mini-watershed has its own subak council, made up from neighbouring farmers who are party to this common water supply: together they are responsible for the equable distribution of water to all the irrigated rice fields within their purview. Each subak council has its own temple (ulun carik), which is situated in the middle of the rice fields belonging to its member, and this is where the major ceremonies of the rice cycle are held. The temple of Ulun Danau, on Lake Bratan, is identified as the `mother` temple of all the subak system on the island and some subak associations make regular pilgrimages to this sanctuary immediately prior to irrigating their rice fields.

There are also countless small, roofless shrines (bedugul), which are commonly found in cultivated areas, typically beside a dam or weir. These tend to be erected and maintained by individual farmers whose rise fields are in the vicinity. A Balinese Harvest Home The most important subak ceremony in the agricultural cycle is the festival or ngusaba nini, which is usually held either just before or immediately after the rice harvest. It is held at the subak association temple and takes form of a thanksgiving ceremony dedicated to the rice goddess Dewi Sri. Dewi Sri is the wife of Vishnu and is one of the most popular deities in the Balinese pantheon, being conceived as the paragon of everything that is good and beautiful. Furthermore, as rice goddess, she is identified as the fountainhead of agricultural fertility and bountiful harvests, while her daughter, Dewi Melanting, is the tutelary deity of seed and plants. For the rites of ngusaba nini, a mouth-watering selection of offerings are prepared by subak association members, and after they have been dedicated by the priests to the beneficent gods, and in particular to Dewi Sri, they are shared amongst the participants at the festivals. As with all temple offerings, the gods are said to enjoy the essence (sari) of whatever is presented to them, leaving its material residue for the delectation of their followers.

Sacred Bathing Places in Bali

2008-08-17T02:01:00.000-07:00

Water has a special place in Balinese life, not only because of the vital role it plays bin irrigating the island`s rice fields, but also because of its ritual significance as an agent of purification. With its source in the volcanic lakes and rushing streams of the central mountain range, water is identified with the purity of the gods who dwell on high. Eventually, however, it flows to the sea where it enters the realm of greatest impurity. And along the way it picks up the dirt of man, both in the literal sense-the Balinese are very conscious of personal cleanliness and bathe themselves in running water several times a day- and also in terms of spiritual pollution. It is in this last respect that water acts as a purifying agent, cleansing man of his mortal sins and preparing his soul for a better reincarnation in the next life. Holy Water Holy water (tirtha) is the key ingredient in this scheme of things, being the principal means by which various forms of impurity are ritually washed down to the sea. The preparation of holy water is a sacrament of great importance in Balinese religion which the Balinese themselves often refer to as the agma tirtha, or `holy water religion`

The degree of potency of holy water is contingent on its source, the status of the person who prepares it, and the type of mantra employed in its preparation. The holiest of holy waters come from high up in the mountains and is prepared by high status Brahmana priest (pedanda). Sacred Bathing Places Every village has a recognized bathing place-either the nearby river or a community bath, with separate compartments for men and women to perform their ablutions. In addition, there are numerous sacred pools and bathing places whose waters are deemed to have magical or curative qualities. The central Balinese regency of Gianyar is particularly well-endowed with sacred bathing sites. The best known of these are Tirtha Empul, near the village of Tampaksiring, Pura Mengening, a little to the south, Telaga Waja and Goa Gajah, but there are several other sacred bathingt places in the vicinity of the Sungai Petanu and Pakerisan rivers which flow through Gianyar from the mountains in the north to the waters of the Straits of Badung in the south.

Cave Temples and Rock-cut Sanctuaries in Bali

2008-08-16T23:41:00.001-07:00

The practice of carving temple out of solid rock has an ancient history in India dating back to the time of the great Mauryan emperor Ashoka (c.270-232 BC). Some of the earliest surviving sanctuaries in Bali have also been hewn from a rock café, the best known of these being Gunung Kawi and Goa Gajah. They are both to be found in the vicinity of Gianyar, in the narrow strip of land lying between the Petanu and Pakrisan rivers, a region which is extraordinarily rich in ancient temple sites and sanctuaries. Gunung Kawi Gunung Kawi, which literally means `Mountain of the Poet (s)`, consists of a series of temple-like `structures`, standing in two rows of niches, excavated directly from the rock face. Though no more than deeply cut reliefs, in form they resemble Classical Javanese temples, or candi, with their stepped pyramidal roofs and serried ranks of antefixes, but the `doors` do not open and there are no internal spaces. Nevertheless they are commemorative structure, with inscriptions over the false doorways indicating to whom they are dedicated.

The latter are executed in a highly decorative script, sometimes known `Kadiri Quadrate` after the East Javanese kingdom of Kadiri where it is also found in the late 10th and 11th centuries. Unfortunately, these inscriptions are badly worn and are virtually illegible expect in the case of one associated with the central candi which reads `` haji lumah ing Jalu`` (literally, ``the king who was monumentalized` at Jalu``). The King referred to here is generally thought to be the 11th century Balinese ruler, Anak Wungsu. Known chiefly from royal proclamations carved is stone, Anak Wungsu probably ruled from about 1050 until at least 1078 (the date of his last inscription). Sacred Serpents and Fecundity There is a conduit on the hillside above the group of five rock-cut candi which carries water to a lower channel that passes right in front of the candi themselves. There are spouts in front of each of the candi and water issues forth from these into another conduit which empties into a bathing place. The spout in front of the central candi, commemorating the deceased king, is carved in the shape of a naga serpent (the other spouts are plain). Naga are traditionally associated with water and fertility throughout Southeast Asia and it seems likely that in the past it was believed that immersion in water which had come into contact with the memorial to the late ruler would enhance fecundity or cure barrenness and other ills.

Recent History of Bali

2008-08-15T01:47:00.000-07:00

The end of the reign of Soeharto in 1998 threw the entire country into a maelstrom of change and turmoil. For some time it seemed that Bali was to be spared much of the anguish experienced on other islands in the archipelago. But the bomb attacks targeting Westerners that killed about 200 people near Kuta Beach on 12 October 2002 ravaged the tourism industry and destroyed any such complacency. It took about a year, during which the Balinese were in a kind of shock, but tourism recovered and 2004 was one of the best years on record for visits. More bombs in October 2005 killed about 20, and this time visitors did not return in previous numbers. With tourism at the centre of the local economy, the Balinese are at a crossroads in deciding their future direction.

Modern History of Bali

2008-08-15T01:36:00.000-07:00

It took Dutch troops five days to reach the outskirts of Denpasar. Surrounded by superior forces, Balinese royalty and religious leaders decided to take the honourable path of a suicidal puputan - a fight to the death - rather than surrender. First the palaces were burnt, then - dressed in their finest jewellery and waving golden daggers - the rajah led the royalty and priests out to face the Dutch and their modern weapons. The Dutch begged the Balinese to surrender, but their pleas went unheard and wave after wave of Balinese nobility marched forward to their death. In all, nearly 4000 Balinese died.

As other local kingdoms capitulated or were defeated, the entire island came under Dutch control and became a part of the Dutch East Indies. There was little development of exploitative plantation economy on Bali, and common people noticed very little difference between rule by the Dutch and rule by the rajahs. Despite the long prelude to colonisation, Dutch rule over Bali was short-lived; Indonesia soon fell to the Japanese in WWII.

At the end of WWII, the Indonesian leader Soekarno proclaimed independence, but it took 4 more years to persuade the Dutch that they were not going to get their colony back. In a virtual repeat of the puputan nearly half a century earlier, a Balinese resistance group was wiped out in the Battle of Marga in 1946. In 1949, the Dutch finally recognised Indonesia's independence. In 1965, an attempted coup blamed on communists led to Soekarno's downfall. General Soeharto suppressed the coup and emerged as a major political figure.

The Communist Party was outlawed and a wave of anti-communist reprisals followed. On Bali, local communists were perceived as a threat to traditional values and the caste system because of their calls for land reform and an end to social repression. Religious traditionalists took advantage of the post-coup hysteria and led a witch hunt against communist sympathisers. Mobs rounded up suspected communists and clubbed them to death. The Chinese community was particularly victimised before the army stepped in and restored order, but no-one on Bali was untouched by the killings. An estimated 50,000 to 100,000 people were killed, at a time when the island's population only totalled two million.

Soeharto established himself as president, and under his government Indonesia looked to the West for alliances and investments. On Bali, economic growth and dramatic improvements in infrastructure were achieved by hugely expanding the tourist industry. This also resulted in the displacement of local populations and disruption of many traditional communities.

Pre-20th-Century History

2008-08-15T01:18:00.000-07:00

There are few traces of Stone Age people on Bali, although it's almost certain that the island was inhabited very early in prehistoric times. There is also little known about Bali during the period when Indian traders brought Hinduism to the Indonesian archipelago. The earliest written records are inscriptions on a stone pillar near Sanur dating from around the 9th century AD. Hindu Java began to spread its influence into Bali in the first half of the 11th century, when the rock-cut memorials at Gunung Kawi were sculpted.

The Javanese Singasari dynasty conquered Bali in 1284, but when it collapsed shortly afterwards Bali regained its autonomy and the Pejeng dynasty, centred near modern-day Ubud, rose to great power. The Pejeng king was defeated by the great Majapahit dynasty in 1343 and Bali was brought back under Javanese influence. As Islam took hold in Java in the 15th century, the Majapahit kingdom collapsed and many of its intelligentsia moved to Bali. They included key priests who were credited with introducing many of the complexities of Balinese religion. Javanese artists, dancers and musicians also sought sanctuary in Bali, and the island experienced an explosion of cultural activity.

The first Europeans to set foot on Bali were Dutch seamen in 1597. Setting a tradition that has prevailed to the present day, they fell in love with the island and, when the ship's captain prepared to set sail, several of his crew refused to come with him. By the early 1600s the Dutch had established trade treaties with Javanese princes and had wrestled control of the spice trade from the Portuguese. They were, however, more interested in profit than culture and hardly gave Bali a second glance.

In the early 18th century, as local rule in Bali began to fracture, the Dutch began muscling in using the tried and tested divide-and-rule policy. They used Balinese salvage claims over shipwrecks as a pretext to land military forces in northern Bali in 1846. Teaming up with the Sasaks of Lombok to defeat the rajahs of Bali proved a bad tactic when the Sasaks changed their minds and slaughtered the Dutch. This incensed the Dutch so much that they invaded Bali with a heavy military force and severed its control of its smaller neighbour. With the north under Dutch control and ties with Lombok severed, the south of Bali was not going to remain autonomous for long. Another salvage dispute resulted in Dutch warships appearing off Sanur in 1906.

Yoga in Bali

2008-08-15T01:04:00.000-07:00

I recently subjected myself to seven days of stretching and sweating at a yoga retreat on Bali's Bukit Peninsula. Popular with surfers who come to ride the legendary waves at nearby Uluwatu, this remote and rugged spot on Bali's southwestern tip is a 45-minute drive from the tourist hubbub of Kuta.

Here, there are no fabulous restaurants, a quick paddle in the sea runs the serious risk of being swept out by a vicious undertow and the local shack that sells water and cigarettes is the closest you get to a shopping experience. So why did I go there? And why was it one of the most rewarding holidays I've had?

I'd been attending weekly Iyengar yoga classes for a few years and felt ready for the challenge of a daily yoga routine. I wasn't talking just a couple of hours of gentle stretching - I wanted to live and breathe yoga for at least a week and observe the effects this might have on my otherwise restless mind. Bali was an obvious choice for serious R&R with its tropical climate and laid-back lifestyle. I found a retreat that offered five hours of daily Vinyasa yoga at a secluded spot called Bingin, a small Balinese village that tumbles down a cliff onto a rocky beach dotted with low-rent accommodation and equally low-rent warung (restaurants).

I wasn't talking just a couple of hours of gentle stretching - I wanted to live and breathe yoga for at least a week

Bingin Beach is a long and bumpy jeep ride down an unsealed road. On arrival at our guesthouse, my partner (fortunately a keen surfer) and I took in our surrounds. Over a shallow moat from our lounge room was a futon in a cloud of mosquito nets and beyond that an open-air bathroom made entirely from natural stone and bamboo. Flowers floated in the moat as it trickled peacefully around each room, while rustling palms and bougainvillea in full bloom covered the surrounding walls. For just $US50 a night we'd booked our very own Japanese-style haven.

I was straight into my yoga practice the following day. Rising with the sun, I walked along the cliff path to the yoga centre, surveying the low-tide lapping invitingly below and a few hopeful surfers bobbing like sea-lions on the horizon. The yoga space, a handsome hexagonal pavilion made entirely of wood and other natural materials, had a traditional thatched roof and was surrounded by a lush tropical garden that hugged the cliff's edge. A group of ten of us gathered silently, some still rubbing the sleep from their eyes. We sat cross-legged on folded blankets listening to the quietness of the early morning before the teacher arrived to begin the day's lesson.

Each day followed much the same pattern. Starting with pranayama we'd work through a series of breathing techniques to clear our heads, calm our minds and prepare us for meditation. In those concentrated moments I could feel the delicious freshness of the early morning against my skin as I breathed in deeply and fed my lungs with clean, slightly salty air. After resting momentarily in savasana, we'd meditate for half an hour. At first, I found it difficult to filter out the sounds of chickens, dogs and laughter that drifted over the garden walls as the residents of Bingin began their day.

I found it difficult to filter out the sounds of chickens, dogs and laughter that drifted over the garden walls

By the time we began our asana practice, the coolness of the morning had been sucked from the air and replaced by a moist heat as the sun began its creep across the garden. After a vigorous warm-up, we'd focus on stretching a particular area of our bodies. The Vinyasa style (more commonly known as Ashtanga) promotes fluidity of movement and breath control: we'd flow from one posture to another, holding each asana for what felt like an eternity. We'd work continuously in this fashion for two hours, sweat dripping from our foreheads and hanging on the tips of our noses during dog pose. On several occasions I felt like giving up, and questioned why I was putting myself through such torture. But then a heavenly breeze would sweep by and dry-cool my hot skin, distracting me from my torment. And as we began to slowly wind down and relax, I felt an incredible sense of well-being and calmness pervade my entire body.

After each session, our group would drink chai and snack on muesli and tropical fruits before arranging to meet later for lunch when we were feeling a little less mellow. I'd then meander back to my 'palace' and take a cooling outdoor shower, the water cascading from bamboo pipes and splashing onto the pebbled stone floor. Afternoons were free until 4pm. After a massage, a walk to the local beach or a delicious mid-day snooze, I'd head back to the pavilion for two hours of less punishing, more restorative yoga.

I'd then meander back to my 'palace' and take a cooling outdoor shower, the water cascading from bamboo pipes

My yoga group discovered a laid-back little cafe clinging to the cliff. We spent long hours there, lounging on the cushions, sampling fresh salads and chatting about our regular lives that seemed a world away. Among the group were a journalist, a high-powered business type and a restaurant owner who'd come from as far a field as Tokyo, San Francisco and London. All of them found the classes a challenge on both a physical and a mental level, but no one regretted their decision to come. Many commented on newly found muscles, while others just smiled and nodded enthusiastically when I asked if they had found what they were looking for.

At the end of only my fourth day, I found myself near the cliff top in time to watch the sunset. I sat on a sun-warmed stone and breathed in the smells of the fish BBQs wafting from the guesthouses below. A few straggling surfers were still bobbing on the waves, determined to make the most of the last rays of sun. Their determination made me think of my own achievements. Just a few days earlier, I'd been hunched over my desk, stressfully punching away at a keyboard and now here I was feeling utterly content. It was a contentment that felt much deeper than any I had experienced before: a feeling of complete joy and lightness that I could never hope to gain from shopping, fine dining or simply lazing by the pool.

Bali's Ten Best Dive Sites

2008-08-15T00:30:00.000-07:00

Bali's dive sites offer great diversity: vertical walls and sand slopes; shipwrecks, steel and wooden; limestone shorelines and black, volcanic outcrops; peaceful bays and ripping currents; deep, coral-covered ridges, shallow sea grass beds and big bommies (submerged reefs) with both shore- and boat-diving. The pelagics you can expect to see include mantas, whale sharks and, roughly July through October, molamolas (oceanic sunfish).

Diving safaris are becoming the package of choice for those wanting to see more of underwater Bali. These are basically hotel/diving and transport packages with or without a guide. Because you're staying near the dive sites, you can do earlier and later dives which means you avoid the day-tripping crowds from the southern tourist areas that pack out popular sites. It also allows you to do more dives each day at the beach entry locations. Snorkelling is available at Tulamben, Amed, Padang Bai and Pemuteran/Menjangan, so non-diving partners and children can often join day trips and safaris.

Bali's Ten Best

1) USAT Liberty - The Liberty Shipwreck is considered by most operators to be Bali's most popular dive site. The American ship USAT Liberty was an armed cargo steamship that was torpedoed by the Japanese in 1942. It's large and somewhat broken up, sitting on a black sand shelf that slopes from about 20ft to 110.

Lined angelfish

The years under the sea have transformed it one of Indonesia's most beautiful artificial reefs. The currents running by the wreck bring lots of nutrients to feed the corals. Stunning gorgonian sea fans, huge soft coral trees and big barrel sponges have all flourished at this location. A resident school of bigeye jacks live on and around the ship and are unafraid of divers, so it's safe to enter the school and have them whirl around you. The ship is also a haven for emperators, batfish, sweetlips and parrotfish.

2) Tulamben Dropoff - Tulamben Bay, like the rest of Bali, is situated in the richest marine biogeographic zone in the world. Being on the northeast coast, the bay receives very plankton-rich waters from the major ocean current that moves from the Pacific to the Indian Ocean. This, coupled with the fact that the three main dive sites provide totally different physical environments, mean that Tulamben Bay contains a stunning and diverse underwater ecosystem. The black sand in the area provides a dramatic contrast, which brings out the colours of the corals, gorgonians, fish and other marine life. At the south end of the bay, a rocky point falls off sharply underwater to create a deep drop-off where sharks, whale sharks and sunfish have been found. About 4kms south is Seraya Secrets, a great spot for macro photography.

3) Amed - Amed lies to the south, along the eastern coastline. It was traditionally dependent on salt-panning and fishing, and despite the arrival of tourists, it's retained that feeling. There are three main dive sites here; head south to the shipwreck at Lipah fishing village or a bit further south to the drift dive at Gili Selang, Bali's easternmost point.

4) Lipah Shipwreck - This village is tiny and so is the wreck which can be found at the inner bay drop-off at the north end of Lipah Bay. Divers can take a boat down the coast or just drive along the winding coast and walk in. It's full of copper sweepers, a batfish school, hard coral growth and waving sea fans, and can be both dived or snorkelled. Go with a good guide, as the currents can come up fast and strong. Divers should take care not to kick the coral.

5) Gili Tepekong - This is a big volcanic hump rising out of the water not far from the Candi Dasa shore on the southeast coast. Underwater, the area is covered with Medusa-like heads that vary in size from huge boulders to small sea gardens. They are adorned with blood-red sea fans, tunicates and sponges. In some spots, the competition for space amid the corals is incredible. Other sites include Gili Mimpang and Gili Biaha. Currents are common in this area, but that means pelagic life like big tuna, jacks, sharks and even molamola come in here. Exciting, but an experienced guide is a must.

6) Blue Lagoon - The shallow reefs of Blue Lagoon, near Padang Bai, are used for introductory dives, night dives and long photo excursions. Staghorn coral patch reefs start in only 3m of water. The reef then opens out onto an area with huge coral bommies, soft leather corals and flowing anemones. The area here can be good for macro buffs; there are rumours of a rhinopius or (lacey scorpionfish) being seen here.

7) Napoleon Reef - Named for a large Napoleon wrasse seen here, Napoleon Reef in the north near Pemuteran is a great little reef. It can be dived deep or shallow, day or night. On the northeast end is the Ikan Warung fish house, where you'll see schools of fish all over the place. Golden sea fans and large clumps of cotton-candy coral grow beside other gorgonians along the slope.

8) Menjangen Island - The drop-offs at Menjangan Island Marine Park can be a real treat. This is the site of a now abandoned guard post for park guards that has a broad channel leading to the beach. Expect to be greeted by batfish. The dive offers spectacular corals and many deep crevices and fissures as well as small caves pocking the reef. Sleeping groupers and wary bigeyes are found in the dark recesses. There are many fan corals along this drop-off to 38m and more.

9) Crystal Bay - Crystal Bay on Nusa Penida, close to Lembongan Island, is protected and relatively shallow, offering enjoyable conditions for divers of all levels. Its big claim to fame is its molamolas. The bay has two entrances and a large rock sits in the centre.

Soldierfish near Crystal Bay

Be careful when diving this central rock or along the outside edge of the bay, as the current can be strong, sweeping divers out along the outside wall into very tricky diving conditions. An experienced guide will help to prevent a disoriented diver from taking a wrong turn. When near the drop-off, look for larger creatures like molas, eagle rays, dogtooth tuna, sharks and an occasional bumphead wrasse. Schooling surgeonfish are abundant in some spots. The other famous spot for molamolas in the area is Juraissic Point, off tranquil Lembongan Island.

10) Manta Point - Lucky divers may have a close encounter with the manta rays that are known to traverse this dive site. One of the mantas is pure white, a truly unearthly creature. Manta Point is located along the high and rugged cliffs of Nusa Penida, so it's not always easy to get there due to the big swells that sometimes hit it, but it's worth it to experience these gentle, graceful creatures.

Gambuh

2008-08-13T04:23:00.003-07:00

In the past, the sacred Gambuh dance was performed at ceremonies, usually in the kingdom's central pavilion or the center yard of a temple. Prior to the performance, respects are paid to the gods in order to ensure a smooth and successful show.

The gambuh is the oldest classical dance of Bali. This dance is known as a tribute to the king's relatives. The gambuh drama is about the adventures of Panji’s search for his lost beloved across the kingdoms of Eastern Java. Its movements reflect the dances from Hindu Java in the reign of Majapahit Empire, characterized by particular eye movements, a typical feature of Balinese dance in the pre-Hindu era.

The artistry of the Gambuh is enhanced by a gamelan pegambuhan orchestra, dominated by the sound of bamboo flute.

Legong Keraton

2008-08-13T03:41:00.000-07:00

In legends, Legong is the heavenly dance of divine nymphs. Of all classical Balinese dances, it remains the quintessence of femininity and grace. The most popular Legong dance is Legong Kraton (Legong of the Palace). Formerly, the dance was patronized by local kings and held in a residence of the royal family. Dancers were recruited from the aptest and prettiest children. Today, the Legong dancers are still very young.

The dance is performed by three dancers: a female attendant of the palace and two identically dressed legongs who act the roles of royal persons. 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, 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 encounters 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 dancers flow from one identity into the next without disrupting the harmony of the dance. They may act as the double image of one character and 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, 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.

Joged

2008-08-13T03:26:00.000-07:00

The Joged dance is typically accompanied by a gamelan ensemble of bamboo instruments called a gamelan joged bumbung. The Joged Bumbung is one of the few secular dances of Bali where the flashy-dressed jogged dancer invites men from the crowd to dance with her in pretence of seduction.

The dance begins with a long opening sequence of the female dancer. With her long shawl in the hand, she goes among the spectators and invites a man by pointing at him with her fan, or touching him at the waist. The man invited to dance is called the pengibing. The better he is, the louder the cheers and roar of the crowd. He may try to pinch her, dance hip to hip with her, or behave like an upset lover and try to hit her.

Panyembrama

2008-08-13T02:38:00.000-07:00

These dances are performed as a welcome to the visiting gods, which are presented with offerings of flowers. Nowadays, the showering of flowers is also addressed to the tourists. During the dance, the flowers are scattered over the guest or audience as an expression of welcome.

The Panyembrama has taken many of its movements from temple dances, such as the Rejang Dance, Pendet and Gabor, which are considered sacred and performed exclusively for God.