Stalking The Wild Barong

Gilded and groomed, worshipped and revered, the sacred Balinese barong may appear well-kept. But truth be told, this wild and wily icon may never be properly house-trained.

The barong—that bushy-tailed, bulging-eyed beast—is one of Bali's greatest cultural hits. As a jet-set visitor to the "Island of the Gods", you know the creature as the winsome hero of the barong dance or as the confounded cause of some interminable traffic snarl. Indeed, you'd be most carefully cloistered in nightclubs, surf breaks, spas or resorts were you not at least once overrun by a boisterous barong procession. Lay aside, for a moment, all plans of beach or bar, and simply succumb to his splendor.

Gong! Gong! Gong! You hear it long before you see it—the throng of barong devotees is headed up by a traveling gamelan orchestra, a crew who thinks nothing of toting half a ton of bronze from one banjar to the next. The scintillating, hypnotic tones build on the approach, captivating all onlookers with a lively solo progression—drums clap, cymbals crash, massive gongs mark the downbeats. Bobbing along with the band are brightly colored umbul-umbul, long bamboo-pole flags sported by boys who can just barely manage them. And behind those, a canopy of satiny umbrellas shades the focus of the mayhem—the mythical, mystical barong.

The barong mask—perhaps a fanciful take on the lion form—features giant, all-seeing eyes, fearsome teeth, wagging tongue and clapping jaw. The beast is crowned in gold filigree and cloaked in a flowing mane of real hair and tinkling bells. More gold and mirrors adorn his shoulders and rump, each supported by a pair of bare shins and the latest in faux-Teva fashion. Every so often, a heated human bearer is relieved of his task as another disappears into the shag. And so goes noble barong, loping along with all the aplomb of the classic clown horse.

As the last of the followers trail off—men young and old, kebaya-clad women bearing offerings and babes, kids awestruck, exhausted and up to no good—a tide of trucks and motorbikes pulls in close behind. Back to Bali, business as usual. All of which leaves you wondering: "What on earth was that?"

The Barong: A Crash Course

A thumb through Lonely Planet informs you that the barong is the ever-watchful guardian of good over evil. To learn more, you shell out Rp50.000 for the local barong dance and watch the drama play out in abridged form.Night falls, guests settle in, gamelan chimes away. And there through the hallowed temple gate pounces Barong. Like an over-sized puppy, he frolics about to the delight of his human followers. All is well and good until—aduh!—enter Rangda, fangs flaring, claws clawing, entrails trailing. After a kidnapping, a grave robbing and lots of good vs. evil dance dueling—just as the Rangda witch surely has the better of our beloved, beleaguered Barong—men dash in with kris daggers. A priest anoints the warriors with water sanctified in Barong's beard. Some glaring lights, some words of thanks and you're off with the bright hope that Barong lives happily ever after. But nothing, of course, is so simple. Most especially not in Bali.

The Many Faces of Barong

Most villages host barongs—sometimes a dozen
or more—hidden away in their temples' inner sanctums. Unlike the secular barongs that work for hire (the Balinese consider these nothing more than fancy theater costumes) temple barongs are sacred, sentient beings. By all reports, sacred barongs live and die, love and lose, and generally protect their village, though it may be in odd and unpredictable ways.Every barong is unique. Sure, there are lots of lions, but no two lions are the same. And then there are tigers, pigs, elephants, eagles, monkeys, dragons and various demons. In point of fact, the rangda witch you saw at the dance is a sort of barong, too

Each barong has its own name, its own family tree, its own endearing foibles. There are young, playful barongs that bound about with abandon, and old, weary barongs that trundle along in their own sweet time. All barongs are wise and magical, but none of them are perfect. Barongs can be rash and rambunctious and a few are known for the odd tantrum. It may be these very imperfections—these nearly human frailties—that make barongs so beloved.

Indeed, barongs are bona fide crowd-pleasers. Kids love them as much as Teletubbies or Power Rangers and will promptly throw a fit if parents don't pack up in pursuit of every passing procession. For grown-ups, barongs are not only holy beings—they may be the most tangible embodiment of niskala, the unseen essence that in today's world is even better obscured by motorbikes and mobile phones. Surely people put as much love and devotion into their barongs as their barongs put into them.

On special occasions, for temple ceremonies or holy days (especially the ten days on the Balinese calendar between Galungan and Kuningan) sacred barongs are let out for a romp. The barong's temple den is opened and aromatic woods are burned before the beast. The smoke, it is said, guides spirits back into the body of barong. As the barong wakes up, he or she is presented with water for bathing, and coffee, before being anointed with incense and frangipani blossoms. If there is a long journey ahead, the barong will be fed his or her favorite food—fried chicken is popular fare. Villagers then file before the barong, make offerings and kneel in prayer.

Before long the barong is moved by the attention and by the stirring tones of gamelan. Suddenly he's ambling out the door, supported by two villagers who have ducked beneath his mane. The villagers march blindly—or are blindly marched?—out the temple gate, down the temple stairs, into the open street and off to who-knows-where.

Good and Evil: A Delicate Balance

So what else, really, is the purpose of the neighborhood barong? Does the barong actually protect his or her village? Perhaps. But beyond the simple perception that barongs wield forces of good over forces of evil is the fuller Balinese understanding that barongs are complex entanglements of the two. Like people, barongs are bottled-up brews of opposing passions: right and wrong, black and white, yin and yang. It just so happens that barongs, who romp freely between seen and unseen worlds, are more potent potions.The key, as with everything Balinese, is to maintain balance. The barong embodies just that, and with a certain flair for drama.

I don't know what to believe. But clearly life is more than meets the eye, and even more so, perhaps, in Bali. Meanwhile, stories of wild and woolly barongs continue to captivate me just as much as the people who live by them.

www.indonesiawild.com

Sacred Fight

The devotee god Indra whip each other using the pandan leaves. Blood run down from the wounds of thorns stuck. Why war is never over for people Tenganan?

Intenseness June Tenganan burning villages. The sun was right above the crown, emit light with a pugnacious. In the middle of the dust fly, it appears visitors throng together-Tenganan Pegringsingan enter the area to watch the ritual Mekare-curry or Megeret commonly called pandan (Pandan War).

Feel of the past so clearly displayed so I menapaki village gate. As if frozen in time here. Road to the corner stone mengular village. Homes still use traditional architecture of the roof-ilalang, while pagarnya made of clay and colored darknes. A resident looks busy painting the leaves Lontar.

Street artists such as this easily found in roads throughout the village. They generally selling his goods to the tourists who come since Tenganan flare into cultural tourism destinations in the 1980s.

Tenganan be spelled out is a living museum for the history of per-nip Bali. The area of the villages that perch on the slopes is almost 1000 hectares, including forests and hills that mengitarinya. Entering the village of Karangasem regency, is located 1.5 hours east Denpasar.

Tenganan famous me-zealous save tradition. People, amounting to approximately 600 inhabitants of the law called awig-awig. For example, they still do not comply with the rules for marriage with people from outside the village and forbid divorce.

One tradition that is also maintained durable War Pandan. Pandan leaves the war was held at the Fifth Sasih traditional calendar, roughly the period around June and July. There are five hamlets in Tenganan, namely Tenganan Pegringsingan, Tenganan Dauh Tukad, Gumung, Bukit Kangin, and Hill Kauh. Pandan war held in Tenganan Pegringsingan and Tenganan Dauh Tukad. The two hamlets of this same flow follow Hindu Indra, and also equally not practice ritual Ngaben (cremation) the withdrawal of another community Bali.

I walked with a visitor many more. Music gegugon echo in my ears. Sacred music that are played only on special days. Next, sayup-sayup heard the sound of gamelan fluty heave. Pandanus war seems to be starting soon.

Participants gather pandanus war
in front of Bale Petemu way. All men. Women can not participate because the war is done be naked chest. Costumes of the participants kamen (cloth tied at the waist), saput (kamen cortex), and udeng (turban). Anyone can participate, there is no age limit, whether parents, young people, or even primary school age children.

Main weapon is used pandan leaves. Some pieces of leaves cut tied ago so no one ubahnya broom lidi, to look like bat. Length of approximately 40 centimeters. Pandan-pandan that grows wild in the forest is collected by a number of youth (young people) before the ritual began. A quite frightening, pandan have thorns on the edge, not the usual type used to mix the coconut milk. As a means of defense, the participants completed a shield made of plaited sate, braid type which is used to make baskets of rice.

A beautful garden of Mengwi

The people of Mengwi in Bali enjoy the distinction of possessing a living heritage site and ritual venue called Taman Ayun.

Bali, famous as "the island of the Gods," is also an island of a thousand temples. Nearly everywhere in Bali, we find Hindu holy structures, ranging from small temples for family worship to the huge ones used by the entire population of Bali, known as khayangan jagat.

Temple architecture varies as well, from the simplest to the most complex. One of the most monumental temples in Bali is Pura Taman Ayun, which has just this year been nominated as a world cultural heritage site.

After a 30-minute drive northwest from Denpasar, I arrived in Mengwi District, part of Badung Regency.

The name Taman Ayun literally means "beautiful garden". This temple was originally a temple for the royal house of the Kingdom of Mengwi, but over time its function expanded until it became a place of worship for the entire populace of Mengwi District. The history of the temple is closely tied to the founding of the Kingdom of Mengwi in 1627. One of the oldest temples in Bali, it was built in 1634 CE on the orders of Mengwi's first king, I Gusti Agung Ngurah Made Agung.

Pura Taman Ayun reminds me of the gili garden architecture we find in the buildings remaining from the former kingdoms of Bali. Gili, meaning "small island," is a concept in traditional Balinese architecture that combines elements of water and land in a certain composition. In Hindu belief, water is a blessing of life from the god Wisnu, so it's quite common in Bali to find holy temple complexes full of water elements.

The Taman Ayun complex consists of four long rectangles. To enter the area, we have to cross a 20-meter pond over a single bridge at the south of the temple. This bridge connects the outer part of the complex, which includes the parking area, with the first inner section, called jaba sisi. Apart from its aesthetic function, the pond also provides irrigation for many agricultural areas in Mengwi District. And for the local community, the pond is also a place to relax and fish.

Pura Taman Ayun is divided into three spaces: jaba sisi, jaba tengah, and jeroan. The further in we go, the higher the elevation. This is a cosmological symbol: from the lowest space, inhabited by humans, to a holier space where the gods reside, and finally to the holiest section, the realm of God Almighty. To the right of the entry gate is a wantilan structure.

Here we also find a fountain, and a small temple called Pura Luhuring Purnama. After passing through jaba sisi, we enter the second area, called jaba tengah. Within this area are Pura Dalem Bekak and Bale Pengubengan on the east and Bale Kulkul on the west.

Tourists are not allowed to enter the jeroan section, but the management of Pura Taman Ayun has provided an alternative by making a path that goes around the area, enabling people to peek into the temple from outside the fence.

Pura Taman Ayun is in active use as a site for rituals and cultural events; it plays an essential role in community life and therefore needs to be preserved. After being destroyed by a massive earthquake in 1917, the temple was gradually restored to its original form, starting in 1950. The pride of Mengwi's people, the temple is now being used again as a place of worship. And as one of Bali's important tourism destinations, it is also equipped with all the necessary support infrastructure – an extensive parking area, a rest area, toilets, tour guides, and security personnel. All of this makes Pura Taman Ayun not only an important cultural heritage site but also a fascinating place to visit.

Bali Aga and the Ancient Ceremony

The Pura Tuluk Biyu, an ancient temple perched spectacularly on the rim of the Batur Crater in Kintamani, was the venue of an equally spectacular round of ceremonies called the Madewasraya, held once every five years to maintain peace and harmony through prayer and dance. As with most Balinese ceremonies, foreigners were a highly visible presence, whether long-term residents in full ceremonial dress, or tourists wearing cheap sarungs purchased from a street hawker outside the temple. But this ceremony offered a novel sight: Indonesian-speaking foreigners wearing badges identifying them as organization staff members. On seeing this, one Balinese visitor from Denpasar remarked, with undisguised contempt, "this is just what you would expect from the Bali Aga."

Literally meaning "Mountain Balinese," but in common usage taking on a meaning closer to "hillbillies," the term "Bali Aga" is used to describe the inhabitants of around a hundred villages, most — but not all — located in the central highlands. Tourist guidebooks generally describe the Bali Aga as "hostile, scruffy hustlers" who make life miserable for visitors trying to enjoy the refreshing climate of Lake Batur. Stories abound of boatmen renegotiating the charter fee in the middle of the lake, of tourists returning to the car park to find their spark plugs removed and held for ransom, and of assaults on foreigners who attempt to climb Mount Batur without an overpriced local guide. The heartland Balinese tend to hold an equally dim view, regarding their mountain-dwelling fellows as an "uncultured" people practicing "primitive" rituals such as "sky-burials," where a corpse is left to decompose on the open ground.

Those who spend more than few hours among the Bali Aga soon discover that nothing could be further from the truth. A guest in a highland home will experience kindness and generosity exceptional even on an island having a global reputation for heartfelt hospitality. Australian anthropologist Thomas Reuter, who lived among the highland Balinese for several years researching his doctoral thesis, maintains that Bali supported a flourishing Hindu culture long before the large-scale conversion to Islam undermined the power of the Hindu courts and sent the nobles, priests, and artisans of neighboring Java eastward in search of greener rice fields. Reuter asserts that the Bali Aga, far from being a "lesser breed" unable to assimilate into the high civilization of the Javanese newcomers, actually constituted a sophisticated society whose members saw no advantage in adopting effete Javanese court culture, as did their lowland brethren. The inhabitants of these communities refer to themselves as the "Bali Mula," the original Balinese, noting that the first records in the region date from 112 AD, over a millennium before the arrival of the Javanese Hindus.

Though often held in thinly disguised contempt, the Bali Mula fill an important niche role in Balinese society. The title of Reuter's book about his experiences, Custodians of the Sacred Mountains, reflects that some of the holiest locations and temples in Bali are located in the domain of the Bali Mula. Unfortunately, the position of most Bali Mula communities on the fringes of Bali's tourist-driven economy means that available funds are seldom sufficient for maintenance of these holy sites, or to mount the lavish ceremonies mandated by the Bali Hindu religion.
The Bali Mula feel that this point was demonstrated in 2001, when the custodians of the Tuluk Biyu temple did not have the funds to mount the Madewasraya ceremony, whose five-day cycle fell during that year. Many believe that the omission of this ceremony precipitated the first Bali Bomb and subsequent misfortunes. This year, however, when the Madewasraya was again due, help came from an unsuspected quarter. A foreigner with a keen interest in Bali Hinduism visited Tuluk Bayu, saw the temple's state of disrepair and offered his assistance. The subsequent cooperation between the people of Kintamani and foreign donors represented a partnership between the "Bali Aga" and another of Bali's many tribes, the "Bule Aga." This half-jocular term refers to resident foreigners whose have lived more-or-less permanently in Bali for decades, and are knowledgeable about Balinese society, religion and culture, and often converts to Bali Hinduism. Many Bule Aga have been pioneers in fields such as designing and exporting custom jewelry and handicrafts. Others have written the words and taken the photos that have brought the charms of Bali to the world's coffee tables. While some, admittedly, are aging hippies scraping by in a distorted market where even minimal artistic or professional skills can ensure survival, most of the Bule Aga have made significant contributions to the development of their adoptive home.

The future Bule Aga, arriving as young hippies or surfers in the late 1960s, found themselves living in a subsistence economy where the essentials of life were either grown, made, or bartered for. But industrial development and the growing tourist economy were creating a demand for commercial goods and services requiring cash. After a few unsuccessful attempts to pay the electricity bill with a couple of live roosters, Balinese looked to the growing numbers of foreigners living in
their midst for the cash they needed. Through his or her ability to conjure fistfuls of rupiah on demand, a resident foreigner who took care to observe relevant social etiquette and to show respect for religious and cultural traditions assumed a respected position in the community as a person of nominally low status who nonetheless provides an essential service -- like, for example, a blacksmith.

A new generation of Balinese possessing the ability – albeit to varying degrees -- to acquire and manage money has made the role of Bule Aga as "cash cows" somewhat redundant. But their contribution to the reconstruction of Tuluk Biyu and underwriting the nineteen day Madewasraya ceremony harked back to the days when many Bule Aga were, indeed, "blessed providers of rupiah." Canvassing the expatriate community, including a well-publicized fundraiser at a suburban sports club, raised almost 60 million. Though this constituted only a small fraction of the combined Rp.900 million budget for the ceremony and temple reconstruction — the bulk coming from regional governments, Indonesian businesses and raffle ticket sales — the action has caused an inordinate amount of controversy.

A full-page ad in the local expatriate community newspaper publicizing the fundraiser, and the highly visible presence of foreigners with "committee member" badges at the ceremony, raised considerable ire. Some local commentators fretted that the next logical step would advertising banners to be erected during temple ceremonies by the sponsoring companies.
These tirades were eerily reminiscent of warnings in the 1930s that Balinese dancing for tourists in hotels presaged the demise of the island's unique culture. The Balinese, of course, neatly accommodated the needs of both deities and tourists by declaring that the same dance could be either worshipful or entertaining depending on the venue and context. The success of the Madewasraya ceremony – following the concluding rituals dozens of participants fell into trance, believed to be a clear indication that the gods have been appeased – is an encouraging sign that the over-enthusiastic contributions by foreigners did not detract from the essential sacredness of the ceremony. It did demonstrate the two communities on the periphery of heartland Bali, the Bali Aga and the Bule Aga, can cooperate for the benefit of their respective ancestral and adoptive homes.

What your opinion.....?

Village Temples

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.

Source : Balinese Temples Book

What's on cremation

Cremation of the dead (pengabenan pelebon), the ceremony pitra yadna is perhaps the most important and often the most colorful, ritual in Balinese religion. A cremation is necessary for the soul of the deceased for the passage into heaven and reincarnation and is liberation from material attachments. Due to the immense, cost and the complicated preparations necessary, cremations often occur long after the death of the person. Usually, group cremations are held in order to share the expense and the labor involved. Between death and cremation the body is buried in the cemetery, or in the case of a wealthy person whose family can arrange a cremation more quickly, the body lies in state in the family compound. During this time the soul of the deceased is thought to be agitated, longing for release. An auspicious day for the cremation is chosen by a Pedanda, or priest, after consulting the Balinese calendar. Preparations begin long before the appointed day, each family builds a large tower of bamboo and paper, extravagantly painted according to the caste and wealth of the deceased, on a large bamboo platform. A magnificent, brightly colored, life size bull, winged lion, or elephant creature is also constructed of Kapok wood, bamboo and cloth or colored papers that is used to hold the body for cremation. On the morning of the cremation relatives and friends of the deceased visit the house to pay their last respects, and are richly entertained and fed by the family. At midday the body is taken from the house, placed in the tower and carried with the bull, to the dead man’s Cemetery. This becomes a loud noisy, boisterous procession, designed to confuse the soul of the deceased so that it will loose its way and not be able to return to the family compound, where it could cause mischief.

At the cremation ground the body is put into the belly of the creature. A priest officiates at the last rites, and then the fires are lit. After burning the ashes are gathered and taken to the sea or the local river where they are thrown to the wind. This represents the cleansing and disposal of the material body, and is cause for singing and laughter in the care of the soul in the family compound. After a sojourn in heaven the soul is believed to be reborn. The status of the reborn soul relates to the person’s karma, or his conduct in previous lives. In general the Balinese feel that the soul is reborn within the same circle of death and rebirth, this explains the Balinese reference for their ancestors. Every Balinese knows that the other world must be respected and cared for if he is return to his beloved island of Bali.

The village of Trunyan on Danau Batur (lake Batur) is the only village on Bali where bodies are not cremated, instead they are buried in a cemetery.

Bali: What To Do And Where To Go

There is a large group of travellers that is self-sufficient while having a pleasant time on the island. They know already where to find beach activities, the secrets of going shopping Bali style, and generally know where to find a good time while avoiding too much sweat.There is a equally large group that cannot get enough of new activities, latest tour programs and all sorts of organized adventure. Today I would like to give an overview of popular island tours and tropic activities such as rafting, trekking, cycling, elephant safaris, horse riding, skydiving, paragliding, sailing and other beach and marine sports.If you are staying at a 4 or 5 stars Bali hotel, you will already have the advantage to be introduced to daily domestic activities available to hotel guests. Such can be gymnastic and jogging exercises, local bicycle tours, cooking classes and all sorts of beach games.The next step on the activity level are Volley ball - Outrigger sailing - Table tennis - Tennis at Tennis courts - Badminton - Snorkeling - Windsurfing - Fishing - Parasailing that are in most cases all directly available or bookable from the tour desk at your hotel in Bali.If this is not available at your hotel, or you would rather "go and explore" the island, it is time to consider the tour options offered by virtually 100's of tour providers. Here you can join large groups using large busses, or small individual groups, down to the size of hiring a personal tour guide for only the 2 of you.Rafting and Kayaking trips enjoy a strong following and are increasingly popular. The beauty of the Ayung river valley and Melangit river are popular destinations. It looks to be more a sport for adventures types on photos, but it is completely safe and also recommended for younger children.Sightseeing tours is another Bali favorite, see and explore all temples and monuments of Balinese history on trips to Besakih, Tanah Lot, Tampak Siring, Uluwatu, Kintamani and others.Increasingly in demand is another "sweat exercise", cycling tours to villages and mountain trails. This is not recommended for younger children because they will have a hard time to catch up with the group. For families it is better to just rent the bicycles and maybe a private tour guide, if needed.Elephant safaris is one of the family trips in Bali, provided by many tour operators venturing yet in another field of activity. To completely feel like Indiana Jones the next step would be to go on a off-road Land Rover land cruise, to discover some hidden tracks of the green jungle.Since Bali is an island what comes naturally to mind is a day cruise or sunset cruise to Lembongan island. Two of the providers are Bali Hai and Island Explorer Cruises both offering a wide range of cruises and water activities.Surfers are attracted by south Bali's waves, and not only Balinese enjoy that activity also lots of Australians are coming to Bali only for one purpose: The Waves, also hot among surfers from Hawaii, statements like "Definitely one of The spots to go surfing" from global surfers. If these waves scare you and you just want to practice a bit you can rent a board in Kuta directly on the beach for a few hours.Divers are attracted by several locations in Bali, all easily reachable with dive instructors that will pick you up at your hotel and take you for a dive at a destination of your choice. If you need more above sea level action there is also Bungy jumping, ski diving and paragliding.Bali is a mountainious volcanic island that will catch the attention of mountaineers interested in mountain climbing. Mt. Agung the highest peak at 3142 metres and Mount Batur can be climbed in a few hours. Use a local guide for safety reasons and to find the best routes.Another interesting encounter with nature is possible at the Bali Barat National Park in the north of the island. It is a protected reserve on an area of over 750 square km. The park is home to wild buffalo, monkeys, wild deer and civet.Most suitable for families with kids are theme or adventure parks and attractions. Popular with kids are the Waterbom park in Tuban with their huge water slides, Bali Bird Park in Batubulan has a 100's of exotic birds, and the Bali Reptile Park next door invites with Lizard Komodo Dragons.Again most tours and adventures are easily bookable from your hotel, or you can call Bali1.com anytime while in Bali to arrange a tour for you. From airport pick ups to bringing you safely back to personal meetings at your hotel to book anything from a short Ubud roundtrip to a multiple days Flores tour or visiting Komodo island and their live dragons.

What on Puputan Badung?

"After the artillery fire stopped, the prince went there with his followers, women and children totalling around one hundred people, and there, hidden from our view, they stabbed each other with kris. We found them together in a heap, the prince buried under the bodies of his faithful followers, as if to show that they wanted to protect him, even in death. And the most beautiful young women we had seen in Bali lay lifeless next to their children." From a Dutch eyewitness report.
September marks the 100th anniversary of the Badung Puputan – the culmination of a series of confrontations between the Dutch and the Balinese Rajahs. As the Dutch soldiers waited outside the palace gates of Badung (in what is now Denpasar) four bearers brought out the Rajah on a jewelled palanquin, followed by his retinue of wives and children and retainers. They were dressed in white wearing their finest kris and jewels. They set him down, 100 metres from the Dutch and at a signal from the Rajah, a priest set a dagger into his heart. His retinue followed suite, each stabbing themselves and falling to the ground. The stunned Dutch soldiers fired into the ranks as more people poured out from the palace. Later they ransacked the bodies and razed the palace. Somewhere between 600 and 2000 people died that day. While it signified the end of a kingdom, for the Balinese rajahs, surrender was not an option and to live under Dutch rule was unthinkable.
Although in the country of the former colonial rulers of the Netherlands, this tragic historical event has long been forgotten, in Bali, however, it is well remembered and has been commemorated every year since 1973.
A series of events led up to the Puputan which was the culmination of the Dutch struggle to expand their power in Bali. Actually, the colonial government had been in North Bali since the mid nineteenth century, but they could not take full control of the island until they had conquered the last two kingdoms of South Bali which happened through bloody war in 1906 and 1908 respectively. These clashes both ended with Puputan in both Badung and Klungkung.
Even though the wars were predictable, what is interesting, especially for the Puputan Badung, is how it evolved and how the Rajahand his people came to the war. A few years before the war, the Dutch had launched diplomatic efforts against East and South Bali's kingdoms in order to gain political control over the whole island. Some kings or rajas like Karangasem and Gianyar reactive positively and co-operated willingly while the Rajahs of Bangli and Badung reacted against their would be rulers. From the early 1900s, the Raja of Bangli created more problems for the Dutch than his colleague in Badung. Subak (irrigation-water) disputes and land-border disagreements generated by the Rajah-backed people of Bangli, caused significant social and political instability on the island, especially in South Bali, which disturbed the colonial government's plans for control.
When the Dutch-flagged Chinese cargo-ship Sri Kumala was wrecked off Sanur in 1904 in Sanur beach, the Dutch saw their chance to push for control and the focus shifted from Bangli to Badung. It all began with the report of the ship's owner who said that the ship was confiscated by the people of Sanur, Badung. Based on the report, the colonial government in North Bali ordered the King to pay a hefty fine. The King of Badung, Tjokorda Made Denpasar denied that the confiscation took place, arguing that the people on the beach helped the ship crew ashore and rescue goods from the ship. Regardless of what really happened, the tension between the King and the Dutch rose until a military intervention became inevitable.
The Badung Rajah was encouraged by his advisers to pay the fine to avoid unnecessary conflict. But the Rajah, a great author of classical Balinese literature, refused the advice, insisting that his beloved people had done nothing wrong. He argued it was not a matter of money or fine to be paid, but a point of honour against the Dutch.
Following diplomatic failure, the Dutch imposed a blockade on the Badung territory, forbidding trade with the other Bali kingdoms in an attempt to suppress the Rajah's power. This tactic caused the Rajah to maintain his position for almost two years (since 1904) leading to the fullscale military attack in September 1906.
Dutch troops landed in Sanur bristling with soldiers and weapons. Denpasar was attacked from the East by cannonfire, while thousand of the Rajah's supporters confronted them with the traditional weapons of kris and bamboo spears. The Rajah and his followers held a last prayer to show their commitment to guarding their homeland. During the prayer, the followers were blessed and given tirta pangentas, holy water that is usually sprinkled over a cremated body to release his/her spirit from the body. This holy water symbolises the determination of the followers to die, so that when they die in the war there is no need for more holy water. The rajahs troops were no match for the Dutch. Their kris and bamboo spears had little effect against cannon fire and guns.
The peak of the war took place on September 20th, the day when the Badung Raja was killed, followed by thousand of his people. The Dutch sources tend to downplay the total number of victims, Balinese sources mention higher, and the estimated number of deaths is somewhere between 600 and 2000. The Dutch military chief, General Rost van Tonningen in his brief speech prior to the return of his army to Tanjung Priok (Jakarta), said how few the victims were from both sides. He added that the victims were regretted.
The annual commemoration is marked by a flag raising ceremony and cultural performance at Puputan Badung Park, in Denpasar, where the war took place a century ago. School students around Denpasar municipality are also invited to join with a decorated bicycle carnival. Sign boards or posters that carry themes on the importance of 'puputan spirit' are placed around the town. Prior to the anniversary, a dance or Balinese gamelan orchestra of the baleganjur genre is held to bring the celebration alive. The winner is then invited to the evening performance at Puputan Badung Park. A dance drama fragment that carries the theme of the war is performed. The memory of the past and the spirit of bravery is kept alive in the public memory.
The last Puputan happened two years later in Klungkung when the Rajah objected to the Dutch attempt to impose an opium monopoly. The Klungkung rajah struck his kris into the ground, expecting a chasm to appear and swallow his enemies, following an ancient prophesy. It didn't happen. A bullet killed him and his six wives knelt by him, each driving kris into their hearts. A major puputan followed and the palace was burned down, ending the 600 year rule of the Majapahit empire's descendents in Bali. The Balinese also commemorate Puputan Margarana, which falls every November 20th., commemorating the war between the people and Dutch army who wanted to re-colonise Indonesia after independence was declared in 1945.
Puputan, which means "ending" or "finish" is a form of ritual self sacrifice known only in Bali. For the people of Bali, what is more important nowadays is not the war but the spirit of puputan. The word is used in various contexts, including political, cultural, and even in sport. It is often interpreted as 'fight all out in achieving goals' or 'spirit of encouragement' against any challenges in the post-colonial era. Thus, the common use of the word 'puputan' not so much reflects the public's memory of the war but more of the importance of the struggle and bravery in making Bali's future better.

Ornamentation and Iconography in Balinese Temples

Balinese temple 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.

Pura Luhur Uluwatu

The spectacularly located Pura Luhur Uluwatu, on the westernmost tip of the rocky Bukit Peninsula, is one of the sad kahyangan, or `six great sanctuaries` on the island of Bali. The temple is dedicated to the supreme godhead, Ida Sang Hyang Widhi Wasa, in his manifestation as Rudra, the dissolver of life. Violent storms or other cataclysmic interventions of nature such as plagues or volcanic eruptions are said to be Sanghyang Widhi acting in his capacity as Rudra and the location of Pura Uluwatu serves him well. Historical Associations Pura Uluwatu is said to have been founded by the Sivaite priest and sage, Mpu Kuturan, who came to Bali from Java in the early years of the 11th century. Though his teachings seemed to have incorporated many Buddhist elements, Mpu Kuturan is said to have been responsible for a revival of Hinduism in Bali at a time when the religion was in decline.

Pura Uluwatu is also associated with the legendary Nirartha who is credited with being the principal architect of a 16th century Hindu Renaissance in Bali around the time of the collapse of the Majapahit dynasty in East Java. Like Mpu Kuturan, Nirartha founded many temples and encouraged the building of padmasana shrines at existing sanctuaries, including padmasana at Pura Uluwatu. It is claimed that it was at Pura Uluwatu that Nirartha achieved his final liberation from the endless cycle of rebirth, becoming one with the godhead. This singular event resulted in the word luhur being added to the name of the temple-luhur comes from the verb ngeluhur, meaning `to go up`, a reference to the apotheosis of Nirartha. The Temple Pura Uluwatu is built from dark grey coral stone which is much harder and more durable than the volcanic tuff which is normally used for most Balinese temples. This has meant that the stone sculptures and decorative elements are better preserved here then in the case of order ancient sites. It is difficult, however, to put a precise date to the existing structures because the temple had been renovated and rebuilt many times in the course of its long history.

At the very beginning of this century, part of the temple collapsed into the sea which required substantial reparations, while the most recent restoration work was carried out in the 1980s. The three candi bentar gateways at Pura Uluwatu are unusual in that the upper portions have been sculpted in the shape of wings-the Balinese themselves refer to this type of candi bentar as `winged` (bersayap). The oldest of the three candi bentar, which leads into the central courtyard, is also incised with stylized flying birds which one scholar has identified as a Balinese ``version of the Chinese phonix``. Exotic influences notwithstanding, the principal motif ornamenting all three candi bentar and the kori agung gateway leading into the inner sanctum, is quintessentially Balinese, namely the head of bhoma. Some of these are surmounted by an image of Mount Meru, the cosmic mountain at the three of Hindu-Buddhist universe, while over the kori agung gateway,one finds a representation of an urn. The latter is identified as the sacred vessel holding ambrosia (amrta), the immortal elixir of life, which in Indian mythology was extracted by the gods from the primeval ocean of milk. Lightening Strikes Only those who have come to pray may enter the inner sanctum, but one can get a general view from a terrace on the southern side of the central courtyard. The most important structure in the enclosure is a three-tired meru which stands at the far end. This was struck by lightening a few years back- a very singular and inauspicious event, which could only be redressed by elaborate rites of purification and a rededication of the temple.

Purnama and the Romantic to The Spiritual

Purnama or full moon is an auspicious day to Balinese people. Many important Hindu rituals fall upon or are held at this time. The day is believed to bring happiness both socially and spiritually. The significance of purnama, however has changed over recent times.

In the past, say four or five decades ago, purnama had more meaning for romantic things, while its ritual dimension was rather insignificant. Between the1950s and 1970s, purnama was the day that teenagers were always very much looking forward to. On the purnama day, they enjoyed the brightness of the night by going to the beach. Teenagers in Denpasar, for example, went to Sanur beach to enjoy the beauty of the full moon. Many people also swam at the beach that night. They believed that by swimming at the beach on purnama day, they were not just cleaning their bodies but also their minds.

Because the transport facilities before the 1970s was not as modern as nowadays, Denpasar inhabitants went to Sanur by bicycle. Limited street lighting on the road was not an obstacle to their travelling by bicycle because the moon poured its shining light on the road. One after another bicycle usually went to Sanur on the night of purnama. The light of the moon not only eased the ride but also accentuated the romance of their journey.

On the purnama night, Sanur beach was packed with people, usually until midnight, when most of the visitors went home. People avoided hanging around at the beach until late at night because of the magical images of the area. Besides going to Sanur at purnama, teenagers also liked to go to the cinema. New releases of films were often shown for the first time at purnama so as to be able to attract a bigger audience. Sanur beach and the cinema were among the few places available for recreation at that time.

Going to Sanur for teenagers also let them see the 'splendour' of the first and only ten storeyed building in Bali; The Grand Bali Beach Hotel located on Sanur beach. This hotel was the most attractive object for local people to see during holidays such as Galungan and Kuningan or New Year.
Nowadays, purnama in Sanur is still beautiful, but people do not need to wait to come to the beach on that day. People can come to Sanur every day if they like. Purnama and Sanur no longer have a strong connection. The tall building on Sanur beach, which used to be considered so splendid, has now lost its attractiveness. Also, the number of places for recreation has increased; now it is mainly malls and cafes where teenagers like to hang around at the week end.

The romantic dimension of the full moon has become less celebrated by teenagers nowadays. Changes have taken place, marked by more spiritual activities, held on purnama day. On the night of purnama, young people around the town of Denpasar prefer to put on their Balinese attire and go to pray at the temple Jagatnatha, located in the front of Puputan Badung Park. The praying itself does not take long. Some people like to stay up late in the temple or doing what they called makemit, praying and establishing peace of mind but others like to hang around the temple and the Puputan Badung Park until late night. During the purnama night, the park is packed with people, a scene that did not exist three decades or so ago. Those who come to Jagatnatha temple are mostly young people, including school students. On purnama day, students of high schools in Denpasar go to school after hours to pray at their school temple. Some stay there until late at night, while others go to Jagatnatha temple to pray again. The spiritual dimension of purnama has been very strong recently. Every purnama, many primary and secondary school students in Denpasar, and in other regions throughout Bali, come to school without uniform but wearing traditional Balinese attire. They pray at school together before the classes start. Non-Balinese kids may wear Balinese attire if they wish, although they do not have to.

Visitors who happen to have purnama during their holiday in Bali may be lucky enough to see how the Balinese carry on their traditions in the modern era.

On the day of the full moon, Balinese people usually do tirta yatra or pilgrimage to their family or main Hindu temples such as Besakih, Tanah Lot, and Uluwatu. Some often go to pray to Alas Purwo Temple and Mandara Giri near Semeru Mountain in East Java. They come in groups, travelling by bus, like groups of civil servants, hotel or garment factory workers, and the cost paid or subsidized by the company. Tirta yatra has become a fashion and is usually done on purnama day.

Although we are focusing upon the full moon in this article, it should be mentioned that 'Tilem', the dark moon, is also an auspicious day in the Balinese calendar.

Bondres: Bali Style of Comedy

Balinese people have a great sense of humour. This can be seen through their visual arts such as painting, sculpture and the performing arts; including the sacred puppet-shadow and mask dance. Clown characters that make jokes and help audiences understand stories are pre-eminent in all of the Balinese performing arts.

One of the most popular forms of performing arts that is dominated by or often focuses upon only humorous elements, is bondres, also known as topeng bondres. Topeng in Balinese means mask, while bondres refers to comic characters. Topeng bondres means an amusing form of mask used by dancers to make a comical appearance.

Bondres became known in the mid 1970s through the birth of a mask dance group called Topeng Carangsari, named after the village of Carangsari, North of Sangeh Monkey forest. Before this decade, the word 'bondres' was not known and still doesn't appear in today's dictionary of the Balinese language.

The Topeng Carangsari was the first group of mask-dancers to create the typical clown and they made the whole performance entertaining through their fresh, original, and smart jokes. Mask-dance used to be a sacred or serious dance, usually performed to accompany a ritual such as a temple festival or a particular stage in a cremation ritual. When the mask-dance transformed into a performing genre, like prembon, by performing particular stories such as the genealogy of a king or clan, they were hardly entertaining and quite boring. Suddenly, Topeng Carangsari lead by a talented dancer, I Gusti Ngurah Windia, came up with great format of mask-dance which is called topeng tugèk Carangsari. Tugèk means 'chubby beautiful lady'.

Topeng Tugèk Carangsari created three distinctive characters who are a chubby-cheeked lady, the hare lipped arrogant man, and a deaf old man. These three characters have similar important roles, which are to articulate the story and to make audiences laugh. Interestingly, these characters were all played by one dancer, Ngurah Windia, who also played other characters such as a priest and king's adviser or enemy. He played each role just by changing masks and voices accordingly. The total number of topeng dancers is six. Other characters are the princess and her follower, the king (played by a female dancer) and two of his male adjutants. They were quite a solid group.

The prelude scene, marked by a couple of mask dances, was followed by several scenes that led into a plan for a big ritual in the palace such as a wedding. Since the king was respected by his people, he then received a lot of support to make the party run smoothly. The three funny characters enthusiastically come to the palace as representatives of the people.
Using a mixture of languages - Balinese, Indonesian, and a bit of English, the arrogant man comes first, and says how he will dedicate his skill to the wedding ritual. Identifying himself as a civil servant who works at an upper level he appears so confident yet hilarious. He uses a lot of word games, mixing language, and mocking references to modernity and current issues in tourism, thereby giving fresh and authentic jokes for the audience.

As for the other two characters, the chubby-cheeked lady and the deaf old man, although looking very old, the woman introduces herself as a virgin and still a university student. When the king's adjutant welcomes and mocks her as an old and unattractive woman, she then gives the man a lesson by showing her high knowledge of moral and religious values. The funny elements from the character of the deaf old man come from the dialogue between the two, which is full of misunderstandings. Although almost all bondres characters are depicted as stupid, they also sometimes appear as smart and literate people who know a lot about history, tradition, and religious values; reflecting the high literacy level of the dancer, Ngurah Windia.

The Topeng Tugèk Carangsari was very popular throughout the 1980s and 1990s. They were invited not only for ritual or ordinary performances but also used by government institutions and NGOs to promote ideas including 'awareness of tourism', 'awareness of law', on family planning, and on road traffic. Now their dancers are getting old and are unable to perform with the original team. Moreover, their jokes are losing some of their humour since they have been continually recycled by other bondres groups.

The Topeng Tugèk Carangsari group has been very influential. Almost all bondres groups have copied its format with very little adjustment. Mask-dance groups from Denpasar, Badung, and even from North Bali nowadays, often recycle the format and content of Topeng Tugèk Carangsari's humour. Now such mask dances often also appear on TV and are used to make trade promotions. A bondres group from North Bali, which has been very popular recently, has a western dancer that makes it possible for the group to offer more jokes in language games between Balinese, Indonesian and English, either when the Balinese express thing in English or the western dancer says something in Balinese or Indonesian.

Recently, many bondres have left out the stories from their performances and transformed it into pure comedy. After the Bali bombings, several bondres groups were invited by government or NGOs to entertain the public in order to help society eliminate their fears. Bondres also often appear in hotels or even at police station anniversary celebrations. Most of the groups are still able to make people laugh although they are not as funny as the original Topeng Tugèk Carangsari; the pioneers of what is an essentially typical Balinese form of comedy.

trip to Singaraja

Even sleepy Singaraja is getting crowded these days, so leave the town behind and head off to the east, taking the coast road towards Tulamben, and take a day or two to discover some of the unexpected highlights of the region! East Buleleng has peaceful temples with incredible carvings, gamelan makers, Neolithic remains, the only natural dye weavers and some of the oldest Bali Asli villages on the island.

A few kilometres after Singaraja, it is easy to miss the small road towards the coast to the Pura Beji temple in Sangsit, dedicated to Dewi Sri, the rice goddess. Dating back to the 15th century, this unusual pink sandstone temple is rococo in style, with intricate carvings on both sides of the numerous high walls and gates. Rest in one of the courtyards full of venerable frangipani trees and soak up the atmosphere of this magical place before wandering through the rice fields to the Pura Dalem. This temple is dedicated to Siwa and the souls of the dead with interesting erotic carvings reflecting the artist's vision of a Balinese heaven and hell.

Back on the main road, look for the turning south towards Jagaraga, the site of the last tragic battle fought by 16,000 Balinese soldiers led by Gusti Jelantik against 3,000 well-armed Dutch troops in 1849. The carvings covering the walls of the famous Pura Dalem temple outside the village show how peaceful village life was abruptly changed for ever by Dutch colonialists in cars, planes and riding bicycles. Stop for a glass of local coffee in one of the warungs in the main square with ancient trees in Sudaji village, where the best rice in Bali is grown.

Back on the main coast road; try not to miss one of the oldest palace gates in Bali, dating back to 1868, on the right hand side, just before the Pura Maduwe Karang temple in Kubutambahan. This is one of the largest temples in north Bali and is dedicated to the protection of crops that grow on land without irrigation. The reliefs show scenes from the Ramayana epic and Balinese life, together with the most photographed temple carving in Bali - a foreigner on a bicycle wearing shorts!

Carry on through Air Sanih and stop at one more temple, Pura Pondok Batu, recently renovated in north Bali style. Built entirely out of the dark, austere lava stone so readily available in the north on a promontory overlooking the Bali Sea, this is one of the important temples founded by Danghyang Niratha, a seer who came from Java in the 16th century and who is said to have performed miracles on the site.

After Pondok Batu, the main road leads through the 'fruit basket of Bali' with seemingly endless plantations of mango, rambutan and durian trees covering the slopes of the mountains to the south. Follow the sign to Sembiran, climbing the steep road, with breathtaking views of the coast, up to one of the oldest villages in Bali. These ancient villages, Sembiran and Julah have their own special style of building, their own dialect and very different customs from the rest of the island.

Carry on east through Bondalem, then visit the unusual pillared horse baths in the centre of Tejakula; famous throughout Bali for hundreds of years for its silversmiths, dance performances and wayang wong mask dances. Stay at one of the following small resorts in the area and take the time to explore the many tiny back roads, villages and unspoiled beaches in the area.

A Birds Eye View of Ubud

Being so tiny, I am invariably overlooked, which certainly has its advantages. I mean, who could possibly wish to persecute a creature as diminutive as myself? Whilst wandering through the rice-fields, your attention will be drawn to my song, a sort of scratchy insect wheeze, succeeded by a clear belling note. The Balinese call me tje-tje-trung, which sums it up rather well, I think.
Golden-headed Cisticola is the name usually applied to me by English writers on the subject. On hearing my song, you will trace the source and find me perched atop a stick, in the thick of the growing crop. In fact you will not find me elsewhere. My entire life revolves around the padi (though, unlike the munias, weavers and sparrows, I feed not upon the grain, but upon small insects which may be harmful to the crop); even my nest is secreted within the rice-stock. And thereby hangs a sorry tale. Are you prepared for the telling of it?

The so-called Green Revolution is the crux. In former times, the farmers hereabout grew only traditional strains of rice, which yielded two annual harvests; whereas, now, they get three at least of this rapid-growth, high-yield, genetically manipulated stuff. It is awfully hard for us to adapt our life-cycle to such greatly accelerated growing; and, when the reapers come, I am sorry to say that many of my kind are cut down before they are fully fledged. However, the blinkered boffins who scheme in their laboratories care not for these environmental niceties; their sole concern is to create the fastest-growing, highest-yielding type, in order to feed the starving masses – or so it is said.

In the fields north of Ubud, you may still happen upon the odd plot of native variety, standing head and shoulders above the new. And, when you do, may I ask you to pause and compare the two -- which seems to you the finer? – and reflect upon our fate.

I Need No Introduction. Who can fail to be familiar with my appearance – huge pink beak and prominent white cheeks, black head, grey breast and mantle, and wine-coloured belly? You have guessed correctly: Java Sparrow is my name. Such a prosaic name for such a pretty bird! Ahem! But being a pretty bird presents a problem and this is just one of my problems: I have a reputation, not altogether underserved, for eating large quantities of rice. Did you know that my very scientific name is Padda oryzivora – the paddy-field bird which devours rice?
Thus have I and my kind been miserably persecuted. Practically extirpated, on the one hand, for being a crop pest; trapped and kept in a cage, on the other, for being so pretty.My only view of Ubud, these days, is through bars. Most of the time, my gaze falls upon bare walls: every now and then my owner suspends me in my prison from a beam on the balcony. For mercy's sake, what is to become of me? Which is the more desirable – to languish in solitary confinement, or to see all my friends at liberty? Better that I were dead. Snared by the farmer's lad and eaten.
Of All The Birds Of The Field, none can be more familiar, or have a finer overview, than we Egrets; long-necked, long-legged and elegant, resplendent in our gorgeous, snow-white plumes. You may profess not to be a bird observer, but when you see a crowd of our kind, strolling through the fallow and flooded, or newly-planted, rice-fields, you will feast your eyes on the spectacle for certain. And when a flying phalanx fills the sky, your gaze will as surely be drawn heavenward, until the last vestige of shimmering ribbon is lost behind the trees.

Every inch of Ubud's territory is known to us, and far, far beyond. We hear you complain about urbanisation, pollution, environmental degradation – you name it – yet we have no gripe to vent. Indignant we may wax at times, but you will hear our squawking only if disturbed, or, between ourselves, in flight, and at our roost.

Changes there have been, admittedly. But pray tell of a human population centre, be it Ubud or elsewhere, whose appearance has not altered. For us the essential remains - that limitless ocean of green and reflected sky, where we may forage to our stomach's content on such delicacies as eels and frogs. Those Grey Frog Hawks, which compete with us from time to time – why, they barely skim the surface!

Do not talk to us of sustainable development. Such jargon is meaningless to our minds. By all means let us speak of progress, which ought to be the sole criterion of change. Wherever we go in Ubud, which is the heartland of Bali, we now behold signs proclaiming: 'Do Not Shoot The Birds'. There is progress for you: for us it is a triumph!
We are very free, and not only are we free, but we are also protected. Far more than that; we are considered sacred by the villagers with whom we share our home. You are most welcome to come and visit us. The name of the village is Petulu Gunung, situated but a short distance north of Ubud. Thousands upon thousands of our tribe roost and nest in this hallowed enclave. In tourist brochures and guidebooks, we are touted as a Major Tourist Attraction.

In the soft light of a late afternoon, we fly back in formation from the fields to our fold. You may watch the trees turn white, snow-white, with our augmenting numbers. Does it put you in mind of another clime, another realm? Sit here, on this weathered stoop, relax, have a cool drink; you are on holiday – though we are not – and mark us well. Consider the birds, and their bird's-eye view, with deeds, and not words; we count upon you.

Subak Temple and Sacred Rice in Bali

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.

how rice are grown in bali

In Bali, where rice is grown almost everywhere you go, you can see rice fields and how rice are planted, upclose, instead of seeing them already polished and in a bag.

Nature has endowed Bali with ideal conditions for the development of agriculture. The divine volcanoes, still frequently active, provide the soils with great fertility. Copious rainfall and numerous mountain springs supply many areas of the island with ample water year-round.

Wet-rice cultivation is the key to this agricultural bounty. Here, and in other well-watered areas where wet-rice culture predominates, rice is planted in rotation with so-called palawija cash crops such as soybeans, peanuts, onions, chili peppers and other vegetables. In the drier regions corn, taro, tapioca and beets are cultivated.

Kingdom of Majapahit in Bali

The temple of Bali are the legacy, in part, of an architectural tradition that dates back to the last great empire of Indonesia`s Hindu Buddhist past, namely the East Javanese kingdom of Majapahit, which at the height of its influence between the 14th and 15th centuries held sway over most of the Indonesian archipelago. Construction techniques employed by the ancient Javanese are still used today in Bali and many architectural elements-most notably the distinctive spit gateway, or candi bentar can be traced back to the golden Majapahit era.

Majapahit and Bali Bali first came under the hegemony of Java in the latter part of the 13th century when the last ruler of Singasari, the dynasty which preceded Majapahit in East Java, sent a military expedition to subjugate the island in 1284. The subsequent fall of Singasari in 1292 temporarily released Bali from the thrall of East Java, but early in the 14th century, the new Majapahit rulers conducted a series of military campaigns against Bali which culminated in the installation of a Javanese king at Samprangan and the establishment of a Javanese ruling elite across the island.

The end of the 15th century saw a gradual decline in Majapahit fortune as a autonomous Muslim entrepot state began to establish themselves along the northern coastline of Java. The final collapse of Majapahit came at the beginning of the 16th century and led to a huge influx of Javanese refugees into Bali, among them many artists and artisans who had formerly been employed at the Majapahit court. This event had a lasting impact on the religious and cultural life of the island and introduced new elements into Balinese temple architecture. Majapahit Correspondences The ruined temples of East Java reveal that the religious orientation of the Majapahit era was predominantly Hindu,but with a sizable Buddhist constituency. This same combination of Sivaitic Hinduism and Buddhism occurs in Bali except that the relationship between Hinduism and Buddhism is more syncretic in nature, with Hinduism grabbing the higher ground though itself greatly modified by native Balinese influences. Nevertheless a number of parallel with the Majapahit erw can still be drawn. For example, the Balinese continue to creamate their dead and cast their ashes upon the sea. And like the ancient Javanese they also conduct a series of post – mortem ritual to free the soul from the pollution of death. One major difference between modern Bali and Majapahit Java is the absence of a physical representation of the deity in Bali, except in the case of a few pre-Majapahit-era temples of great antiquity.

Balinese Culture

The island of Bali is part of the country of Indonesia.

Bali's highest peak, Mount Agung, is said to be the home of the gods.

Bali has suffered from volcanic activity and earthquakes. In 1830 a volcano erupted and devastated much of Bali and in 1917 a severe earthquake was followed by volcanic activity from Mount Batur. There were also volcanic eruptions in the 1960s.

The "Wallace Line" passes between Bali and Lombok islands and between Kalimantan and Sulawesi. In 1869 Alfred Wallace reasoned that there are Asian and Australian animals on either side of the Lombok Strait because Ice Age sea levels prevented animals crossing.

Bali Aga means the "original Balinese". The Bali Aga people live in the villages of Tenganan and Trunyan.

The Balinese build shrines for spirits believed to live in large trees. Artistic offerings are made of flowers and fruit. Rice is also offered to the gods and spirits.

Rice is Bali's main crop. The elaborate irrigation systems encourage a cooperative way of life between the rice growers.

In some regions of Bali there are bull races across the rice fields to please the god of harvest.

The Hindu-Balinese population has a belief in reincarnation. Babies up to six weeks old are treated with reverence as they are thought to have the soul of a reincarnated ancestor.

Cremation is a very important event when the dead person's soul is released.

In 1906 the Netherlands took control of Bali. During the Dutch capture of the island many thousands of Balinese were killed. Puputan Square in Denpasar is named after the suicidal battle of the Balinese aristocracy in their struggle against the Dutch.

In October 2002 a terrorist bomb in Bali (Kuta town) killed over 180 people. Three years later, suicide bombings on the island killed over twenty people.