History of Bali

BALI ISLAND OF GODS AND DEMONS.
Both magical and mythical, this land of volcanic lakes, spectacular rice terraces, stunning tropical beaches, ancient temples and palaces is and exotic melting pot of cultures and peoples. Renowned of its unsurpassed architecture, traditional theatre, dance and elaborate religious festivals, the colorful Balinese culture is a dynamic force that is constantly synthesizing the old and the new, the traditional and the innovative.

LOCATION
Bali is one of more than 18 thousands island in Indonesia. It is located between the two islands Java & Nusa Tenggara, between 8 03 40 8 degree South latitude and 114 25 & 115 42 40 degree East longitude.
Bali has 5.632,86 square kilometers of land. The total population is approximately 3.2 million people.
Standard time zone is UTC/GMT + 8 hours.

Map of Bali

REGENCIES
As a part of 30 provinces in the Republic of Indonesia, Bali is divided into 8 regencies ( Badung, Gianyar , Tabanan , Bangli , Karangasem , Jembrana , Buleleng and Klungkung, 1 municipal city (Denpasar), 51 districts and 666 administrative villages.
Denpasar is the capital city of Bali province.

Mount Agung is used as orientation and considered North (Kaja) while the sea is considered South (Kelod). This is the reason why "south" in Buleleng is the opposite of "south" in Badung. In Hindu perspective, north direction (mount) is a holy place while on the southern part is the insulted place.

In the division of area, it is analogized the anatomy of the body: head, body and legs as utama (main), madya (medium) and nista (insult). Therefore, the holy place is located in north edge, in the middle as a place of residence and in the south as place of cemetery. Even, for sleeping, head is faced to north or east and legs are directed to south or west.

THE PEOPLE
The Balinese are one of the 250 ethnic groups in the Indonesian archipelago. Most of them (95%) are Hindus, a religion which came from India, passing through Sumatera and Java. After the fall of Majapahit empire all the Hindu aristocrats and the common people fled to Bali, bringing along their religion, traditions, literature and arts. Other religions like Christianity or Moslem, Buddhism are also in Bali. But all live in peace, there is no conflict of religion or conflict of ethnics. The population of Bali are three million people. Most of them live in the southern part of the island. Here the tourist resorts are located such as Sanur, Kuta and Nusa Dua. The Balinese people are very creative. They have created and are still creating various kinds of artistic creativities such as wood carving (statues), paintings, gold and silver smith, handicrafts, dances and religious offerings. Nearly everyday there are religious ceremonies in the temples spread all over the island. There are the so called "Bali Aga"; people, the original Balinese communities in several places like in Tenganan or Trunyan. It is worthwhile to visit them there.

CLIMATE
Bali has tropical climate all year with two different seasons namely dry season from April to October and wet season from November to March. The average temperature hovers around 30 degrees Celsius year-round. The average yearly rainfall between 893,4 mm till 2702,6 mm with average humidity is 79%.
Bali Weather

POPULATION
Bali has 5.632,86 square kilometers of land.
The total population is approximately 3.021.247 people.
IMMIGRATION & CUSTOMS
Immigration Offices:
Jl. D. I. Panjaitan, Niti Mandala, Complex Renon - Denpasar
Phone : (62 361) 238 168
Ngurah Rai Airport Complex, Tuban, Kuta
Phone : (62 361) 751 038
Customs regulations allow, per adult, a maximum of one litter of alcoholic beverages, 200 cigarettes, 50 cigars or 100 gram of tobacco and a reasonable amount of perfume. Photographic, video and filming equipments, radio, typewriter and car are admitted as they are recorded in you passport on entry and taken out on departure. Narcotics, arms and ammunition TV, sets and Chinese medicines are items that strictly prohibited while fresh fruit, plant and animals must be passed by the Quarantine Office.

BANK & MONEY EXCHANGE
Most foreign currencies are easily changed at banks, hotels or money changers. Banking hours are from 8.00am to 14.00 noon Mondays to Fridays, and from 8.00am to 11.00am on Saturdays. Bank in Hotels usually stay open longer hours while Money Changers are generally open till evening. ATM is available in many places, provides VISA, MASTER, ALTO and more.

MEDICAL SERVICES & HOSPITAL
Hospitals and Health Centers staffed by well trained doctors and medical-assistants are available in major tourist resort and the Provincial Capital. Public Health Centre is also available at every Sub district unit.
Sanglah Hospital
Jl. Diponegoro, Denpasar
Ph. (62 361) 227 911

SOS
Jl. Bypass Ngurah Rai 505x, Kuta
Ph. (62 361) 710 505
Bali Medical Center
Jl. Bypass Ngurah Rai 100x, Kuta
Ph. (62 361) 761 263



CONTACT NUMBERS
Police : 110
Ambulance : 118
Fire Department : 113
SAR : 115/151/111

TELECOMMUNICATION SERVICES
Bali is linked via satellite to all major countries in the world and to make an International call can be made from any private house, business center, hotel telephone, or "Wartel" (Telecommunication Counter). Internet is also can be reached at many "Warnet" (Internet Counter). For local and international phone and fax service look out for a sign like this: Int'l Direct Dialing 001 or 008 + country code + area code + local telephone number. Int'l Direct Inquiries : 102, 101
Local Inquiries : 147
Operator Assisted : 110/104

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Dance & Drama

Dance & Drama

Dance is the main art form of Balinese culture and is performed at main temple festivals and ceremonies, especially for the cycle of life and death. Taught and kept in secrecy in villages, halls and palaces, the dances that tourists witness in hotels and specially constructed stages are merely a fraction of the dance scene, although most of the dancers come from village groups.

The Kecak Dance

Its name is derived from the sound "cak", pronounced "chok", which is chanted in complex interlocking patterns that are like the rhythmic patterns played on the gamelan. The modern form of kecak originated from Gianyar village of Bedulu in the 1930s as a result commissioned by the German expatriate artist, Walter Spies. He wished to create a performance that could be enjoyed by a small coterie of expatriate artists like himself, as well as friends and guests to the island.

The modern performance of Kecak is a sensational sight to behold. Hundreds of barechested men sit in a circle with a flickering single oil lamp in the middle. "Cak - Cak - Cak", the chant begins and the men start dancing and swaying to the rhythmic reverberation of their own voices. Hands raised to the sky, bodies shaking in unison, the chorus performs the highly structured piece of vocal music for about an hour. This unique dance holds the title of being the most popular dance in Bali.

The Barong Dance

"Lord of the forest" and magical protector of Balinese villages, the Barong is a mythical, shaggy half-dog, half-lion creature, with a long mane, fantastic fangs, and bulging eyes. It is propelled by two men who maneuver the costume with whimsical and mischievous movements to express its fun-loving nature. The Barong's opponent is Rangda, the evil witch who rules over the spirits of Darkness. The Barong dance epitomizes the eternal struggle between good and evil. The fight of Barong and Rangda is also a topic of traditional narratives performed in temples and takes various forms. The Barong will snap its jaws at the gamelan, prance around a bit, and enjoy the acclaim of its supporters - a group of kris-wielding men. Then ferocious Rangda will then appear lolling her long tongue, baring her threatening fangs, her neck draped with human entrails...not a pretty sight.

The duel begins. Each opponent tries to overcome the other with magical powers but when things do not look too good for the Barong, supporters will lunge at Rangda with krises to weaken or stall her. In retaliation, Rangda would put them all into a trance with her mystical powers and make them stab themselves with their weapons. Fortunately, the Barong possesses magic that is strong enough to cast a spell on the krises from harming the men. This part would be the highlight of the dance; the gamelan rings madly and intensely as the men rush back and forth waving their krises in a frenzy, sometimes even rolling on the ground in a desperate attempt to stab themselves. Often, there seems to be a plot to terrify the audience in the front row! Eventually, Rangda will retire, defeated. And once again, good will reign over evil.

Legong Keraton

The most graceful of Balinese dances, this is the epitome of classical Balinese female dancing. A legong, as the dancer is known, is often a young girl of eight or nine years, rarely older than her early teens. It was first created in the 18th Century and is usually the first dance to be taught to beginners. There are many forms of Legong, the most frequently performed dance being the Legong Keraton or Legong of the Palace.

The story of the Legong is very stylized and symbolic and one should know the story before actually watching the performance. The Legong involves three dancers - two legongs and their 'attendant', the condong. The legongs are identically costumed in gold brocade, which is bound so tightly that it is a mystery such agitated and rapid moves could be made. With elaborately made-up faces, plucked eyebrows that are boldly repainted, and hair decorated with frangipanis, the dancers relate the story with captivating movements.

A king takes the maiden Rangkesari captive. When her brother comes to release her, Rangkesari begs the king to free her rather than go to war. The king refuses and chances upon a bird carrying ill omens on his way to battle. However, he ignores the bird, meets Rangkesari's brother, and was thus killed in the fight.

The roles of the dancers may change according to the narration. However, the dance usually begins with the king's preparations for battle and ends with the bird's appearance.

Baris
A male equivalent of the Legong, Baris is a warrior's dance. Executed with energetic and warlike martial spirit, the Baris dancer has to convey the thoughts and emotions of a warrior preparing for action as well as confronting an enemy in battle. This dance is performed solo and requires great energy, spirit and skill. The warrior's changing moods have to be displayed through facial expressions and movements; he should be able to depict chivalry, pride, anger, prowess, and a little regret. Baris is said to be one of the most complex of all Balinese dances.

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Entertainment

Entertainment

Upon reaching Bali, get your hands on a copy of Bali Echo and the English-language daily, Jakarta Post, which will give you an overall picture of current exhibitions, music, dances and films within Bali. Information can be also obtained through your hotel and notices outside establishments.

Wayang Kulit

The ancient art of shadow play or Wayang Kulit is a unique combination of ritual, lesson and entertainment. Lacy shadow images are projected on a taunt linen screen, backed by an oil lamp or a light bulb. The Dalang or shadow artist manipulates the figures, which are carved out of leather, to bring the shadows to life. He will narrate the story accompanied by a gamelan orchestra and occasional chanting or singing. The Dalang juggles many roles - actor, teacher, historian, and often, a priest.

These performances are part of temple celebrations or religious events to bless the occasion by inviting ancestral spirits to visit the temple. If it is of a religious nature, the wayang performance will take place during the day. Instead of the screen, only a piece of string is used to separate the Dalang from the audience. The stories played are commonly based on the Mahabarata and Ramayana. Some of these shadow puppets have mobile joints, which make the play even more entertaining.

Generous offerings are presented before, during, and after a performance, which usually take three to four hours. Plays normally begin some time between 9 p.m. and 11 p.m.

Gamelan

An orchestra for nearly every event and occasion, the gamelan has special purposes, being the music of Indonesia. These orchestras are generally percussion oriented, but many feature flutes, strings, or vocalists in a prominent light. Different islands or regions within these islands have their own unique gamelan instruments and traditions.

Gamelan is performed when ushering idols to the sea, thus creating a hypnotic rhythm and pattern with the procession of gongs, drums and cymbals. High pitched bronze gamelan enhances the king's slumber, meter-long bamboo flutes accompany a classical dance in the temple, the twang of the bark of a palm aims at courting a young maiden, and reeds provide a whimsical atmosphere for the frog dance. The gamelan indeed has its distinguished purposes.

Customarily, gamelan uses bronze, iron, bamboo or wood bars, bronze and iron gongs, gong chimes, cymbals, bells and two-headed drums. Ceremonial compositions are meditative and serene whereas dance and theater music percolates and flutters.

Visual Stimulation

If you are itching to watch a movie while in Bali, fear not. You will be able to find bioskop in larger towns but the best ones are in Denpasar, Kuta, and Mataram. Lurid posters are highly visible to advertise the latest offering; they are usually mounted on trucks that cruise through town while rave reviews and snatches from the soundtrack blare from a loudspeaker.

Of course, there's always television. There are several public and private television stations broadcasting a variety of foreign movies, mostly with Indonesian subtitles, plus bizarre Indonesian quiz shows, soap operas from all over the world (with Indonesian subtitles), and sports, mainly basketball from the United States and football from Europe.

However, in such a tropical paradise, the day would be wasted if you intend to spend it watching television. There are so many traditional dances and festivals to enjoy and attend, not to mention the historical sites to visit. And if that's not your cup of tea, there is always shopping; yes, shopping! Souvenirs and gifts gesture all around you, so put on your walking shoes and roam to your heart's content!

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kuningan day

kuningan day
Also occurring once in every 210 days in the Balinese cycle of days, Kuningan is the end of the most important of the regular religious ceremonies for the 10-day Galungan period. During this period the deified ancestors of the family descend to their former homes. They must be suitably entertained and welcomed, and prayers and offerings must be made for them. Those families who have uncremated deceased ones buried in the village cemetery must make offerings at the graves.

Kuningan takes its name from the fact that special offerings of yellow rice (nasi kuning) are made by colouring ordinary white rice with tumeric (kunyit). It is a time for family groups, prayers, and offerings, as their ancestors return to heaven.

This Galungan period is also a symbolic representation of a battle between good and evil, and the most important function of Kuningan is to celebrate the victory of good over evil so that the balance and harmony of the world can be maintained.

Unlike the more public processions of village temple ceremonies and cremations, most Kuningan celebrations take place in the privacy of the home, in the shrines of the family temple and house compound.

The day after Kuningan is a time for a holiday, visiting, and having fun.

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kuningan day

kuningan day
Also occurring once in every 210 days in the Balinese cycle of days, Kuningan is the end of the most important of the regular religious ceremonies for the 10-day Galungan period. During this period the deified ancestors of the family descend to their former homes. They must be suitably entertained and welcomed, and prayers and offerings must be made for them. Those families who have uncremated deceased ones buried in the village cemetery must make offerings at the graves.

Kuningan takes its name from the fact that special offerings of yellow rice (nasi kuning) are made by colouring ordinary white rice with tumeric (kunyit). It is a time for family groups, prayers, and offerings, as their ancestors return to heaven.

This Galungan period is also a symbolic representation of a battle between good and evil, and the most important function of Kuningan is to celebrate the victory of good over evil so that the balance and harmony of the world can be maintained.

Unlike the more public processions of village temple ceremonies and cremations, most Kuningan celebrations take place in the privacy of the home, in the shrines of the family temple and house compound.

The day after Kuningan is a time for a holiday, visiting, and having fun.

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galungan day

galungan day
Occurring once in every 210 days in the Balinese cycle of days, Galungan marks the beginning of the most important recurring religious ceremony that is celebrated by all Balinese at the same time. During the Galungan period the deified ancestors of the family descend to their former homes. They must be suitably entertained and welcomed, and prayers and offerings must be made for them. Those families who have ancestors that have not yet been cremated, but are still buried in the village cemetery, must make offerings at the graves.

Although Galungan falls on a Wednesday, most Balinese will begin their Galungan 'holiday' the day before, where the family is seen to be busily preparing offerings and cooking for the next day. While the women of the household have been busy for days before creating beautifully woven 'banten' (offerings made from young coconut fronds), the men of our village usually wake up well before dawn to join with their neighbours to slaughter a pig unlucky enough to be chosen to help celebrate this occasion. Then the finely diced pork is mashed to a pulp with a grinding stone, and moulded onto sate sticks that have been already prepared by whittling small sticks of bamboo. Chickens may also be chosen from the collection of free-range chickens that roam around the house compound. Delicate combinations of various vegetables, herbs and spices are also prepared by the men to make up a selection of 'lawar' dishes. While much of this cooking is for use in the offerings to be made at the family temple, by mid-morning, once all the cooking is done, it is time for the first of a series of satisfying feasts from what has been prepared. While the women continue to be kept busy with the preparations of the many offerings to be made at the family temple on the day of Galungan, the men also have another job to do this day, once the cooking is finished. A long bamboo pole, or 'penjor', is made to decorate the entrance to the family compound. By late Tuesday afternoon all over Bali the visitor can see these decorative poles creating a very festive atmosphere in the street.

On Wednesday, the day of Galungan, one will find that most Balinese will try to return to their own ancestral home at some stage during the day, even if they work in another part of the island. This is a very special day for families, where offerings are made to God and to the family ancestors who have come back to rest at this time in their family temple. As well as the family temple, visits are made to the village temple with offerings as well, and to the homes of other families who may have helped the family in some way over the past six months.

The day after Galungan is a time for a holiday, visiting friends, maybe taking the opportunity to head for the mountains for a picnic. Everyone is still seen to be in their 'Sunday best' as they take to the streets to enjoy the festive spirit that Galungan brings to Bali.

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Bali Arts Festival

Bali Arts Festival

The Bali Arts Festival is a full month of daily performances, handicraft exhibitions and other related cultural and commercial activities during which literally the whole of Bali comes to the city to present its offerings of dance, music and beauty. On display are trances from remote mountain slopes, forgotten or recently revived village dances, food and offering contests, classical palace dances, stars of Balinese stage, odd musical performances, "kreasi baru" (new creations) from the dance schools of Denpasar, as well as contemporary choreography and dance companies from other islands and from abroad.
It is a month long revelry that perhaps no other place in the world can put up on such a low budget as the Balinese. Not only is their traditional culture alive and well, but they have a tremendous pride in it.
It begins in the villages, where the seka or cultural groups are selected and organized at the regency level, vie with each other to perform the Arts Festival and thus display in front of a large audience the uniqueness of their village of birth and resting place of their ancestors.
The Bali Arts Festival is the Denpasar cultural event of the year, perhaps it would no be too far fetched to suggest that it is the cultural event of Indonesia. The festival is thus a unique opportunity to see local village culture both "live" and at first hand. Tourists are warmly welcomed.
The History of the Bali Arts Festival

The History of the Bali Arts Festival

When tourism took off after 1965, the Balinese insisted that it followed cultural guidelines: if tourism was to be accepted, it was to be a cultural tourism, or "pariwisata budaya".
As the Balinese put it: "Tourism should be for Bali instead of Bali for tourism." In time, this idea become national policy, as part of a larger revping of regional cultures for national purposes. The policy owes much to the former Director General of Culture (1968-1978) and Governor of Bali (1978-1988), Ida Bagus Mantra, an Indian-educed Balinese. It led, on the one side, to the creation of enclave resorts such as Nusa Dua to limit the direct impact of tourism, and on the other, to a long haul cultural policy aimed at nurturing and preserving the traditional agrarian culture while adapting it to the demands of modernity, and in particular of "cultural tourism".
At the village level, local music groups, dances and other cultural events were inventoried, then supported by a series of contests at the district and regency level. The ensuing competition energized the cultural life of villages, whose "young blood" was already being drained to the city by the process of economic change and urbanization.
Schools of dance and art were created, in particular the Kokar conservatory and the STSI School of Dance and Music. Beside research, these schools replaced the traditional master/disciple relationship by modern methods of teaching; standardized the dance movements, produced new types of Balinese dances for tourism and modern village entertainment. Most important, it enabled former students to return to the villages as teachers, where they diffused, beside the creed of cultural resilience and renewal, new dances and standardized versions of old ones.
Many of the performances are held at the amphitheater which can hold up to 6,000 spectators, in a temple-like stage.
Each year, the Bali Arts Festival, beside the fed classical dances of the island, such as the legong, gambuh, kecak, barong, baris, mask dances and the like, is based on the theme around which new "dance choreography" is produced and old village dances and activities revived. Over the years, the whole range of classical Balinese stories - Ramayana, Mahabharata, Sutasoma, Panji - have thus been turned into "colossal" Sendratari Ballets.
The main challenge to the Arts Festival is obviously economic in nature. As village life is increasingly feeling the strains of monetary considerations, dancers, musicians and others cannot be expected to continue participating simply for the sake and the pleasure of it. As costs soar, new sources of financing have to be found. The obvious answer is the private sector and in particular the tourism industry. The greater task then is to convince the hotels, travel agencies and tourist guides to be more participatory in the Arts Festival rather than to their own sponsored events.
Considering the pride the Balinese have in their culture, and the adaptability and dynism they have always demonstrated, this little hurdle can be overcome. Trust the Balinese. They will eventually succeed to transform their tradition into a modern, Balinese culture of their own.

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History of Bali

History of Bali
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.

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