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Selumbung + (A Kris dance is performed during the ceremonies of the 4th month (sasih kapat).)

Selumbung +
Desa Batuan + (Batuan (alternate: Batoeon or "Baturan") i … Batuan (alternate: Batoeon or "Baturan") is a village in Bali, Indonesia. It is noted for its artwork and style of painting which originated in the village in the 1930s and has since emerged into a major Balinese artistic style, known as a Batuan painting. It is a major painting center and contains a number of art galleries and cooperative art societies which have played a key role in promoting the art of Batuan. The village is also known for its performance of the ancient Gambuh dance, performed every Full Moon day....Batuan is mentioned in historical records as far back as 1000 years. The Hindu and Indian influence in the region in the village is evident from the carvings and temples. In the 17th century, Batuan and southern Bali were controlled by the royal family until a priest's curse led to their losing their control; eventually they dispersed to various parts of the country. During the period of 1947–1949, most of the Batuan people remained loyal to the Gianyar Regency and opposed nationalism.e Gianyar Regency and opposed nationalism.)
Bayung Gede + (Bayunggede which comes from the word "Bayu … Bayunggede which comes from the word "Bayung" which means "Bayu", or energy while the word "Gede" can be personified as "strong". So when translated, the word Bayunggede means "strong power". Before it was named Bayunggede village, it used to be a small residential area in Bali called padukuhan which was located in the middle of a forest with a very small population (unmentioned). This Padukuhan is led and managed by a customary government structure called the "Ulu Apad" or tribal chief with the main duties and functions of organizing activities and the interests of carrying out traditional ceremonies and ceremonies.out traditional ceremonies and ceremonies.)
Les + (Desa Les is a seaside village of 8,000 on … Desa Les is a seaside village of 8,000 on the northeast coast of Bali. A Bali Moela village, it differs from its neighbors in that there is no caste and ceremonies, while still Hindu, are much simpler than in other parts of Bali.Les is an agricultural village where mangoes, coconuts, and rambutan flourish, and the sea of course provides a bounty of fish and salt. The Yeh Mampeh waterfall provides the precious water needed by people in Les, but it is not enough to cover daily needs and irrigation.Due to its location being north of the mountains ergo little rainfall comeshere, the soil can be quite dry. Many of the men (pre pandemic) went down south to work in the construction industry, and several of the young people went to work on cruiseships. The majority of the people here live day to day, in simple houses with not too many amenities. The education level reached by many is only at the Junior High (SMP) level.In spite of all this, it is a wonderful place to visit. There is a boardwalk by the sea where one can walk past the working salt farms and see the colorful boats of the fishermen and the underwater life is still stunning.and the underwater life is still stunning.)
Komaneka Fine Art Gallery + (During the covid19 period the 'Livingin-ga … During the covid19 period the 'Livingin-gallery' was set up.(Ubud, Bali – November 2021) Komaneka Fine Art Gallery is excited to invite their roster of Bali-based artists to “check-in” and work inside at the Gallery space in the ‘Living in Gallery’ program. Komaneka Fine Art Gallery was founded by Koman Suteja in 1998 and its mission is to showcase the richness of Indonesian art with a focus on emerging and established Balinese painters.Koman Suteja and his wife Mansri Trisniawati started this ‘Living in Gallery’ after the Covid-19 lockdown that restricted the gallery from opening to the public. It affected the artists as well because it halted their exhibition plans. Because the Gallery had to close, Koman says it “brought back memories to the original ideas of the space in the gallery and why it was created. Why don’t we invite the artists to use the Gallery?”‘Living in Galery’ program invites artists to ‘reside’ and create in the Gallery’s second floor, which is 200m2 wide. The artist is allowed a total of 24 hours to work, which can be split into different days. Because each artist has different styles and processes, they are able to customize the space to look like their studio, play the music they want and have the gallery open or closed to the public.Each artist was briefed beforehand so they came to the Gallery with a set of ideas specifically, which excited the artists because the lockdown halted a lot of their projects and exhibitions. The artists responded well to the initiative as it gave them a good challenge that pushed them to do something different during this pandemic.After the artist’s ‘residency’ at the Gallery, the paintings are displayed in the gallery space. Once a month Koman’s wife Mansri arranges ‘The Artist Lunch’ which allows art lovers, connoisseurs and collectors to come together to the Gallery, admire the art, talk to the artist personally and have lunch together at Komaneka Rasa Sayang.Each ‘Living in Gallery’ session will utilize the technology and showcase the gallery digitally. The Gallery website will be updated with new paintings every month and the process will be recorded live on social media.The purpose of this program is close to Koman’s heart. “I was born in a family who are very close to art and the center of the Indonesian art movement. It started from my grandparents, I Wayan Neka, who was a sculptor and my father, Wayan Suteja Neka, who was the patron of modern art in Indonesia.My father invited a lot of Indonesian master artists to live in Ubud, rent them a house and work closely together with my father Wayan Suteja Neka. I met all of the master Indonesian artists which is a special opportunity. With this program, I want to share the experience of working closely with artists of my generation.”(Ubud, Bali – November 2021) Komaneka Fine Art Gallery is excited to invite their roster of Bali-based artists to “check-in” and work inside at the Gallery space in the ‘Living in Gallery’ program. Komaneka Fine Art Gallery was founded by Koman Suteja in 1998 and its mission is to showcase the richness of Indonesian art with a focus on emerging and established Balinese painters.Koman Suteja and his wife Mansri Trisniawati started this ‘Living in Gallery’ after the Covid-19 lockdown that restricted the gallery from opening to the public. It affected the artists as well because it halted their exhibition plans. Because the Gallery had to close, Koman says it “brought back memories to the original ideas of the space in the gallery and why it was created. Why don’t we invite the artists to use the Gallery?”‘Living in Galery’ program invites artists to ‘reside’ and create in the Gallery’s second floor, which is 200m2 wide. The artist is allowed a total of 24 hours to work, which can be split into different days. Because each artist has different styles and processes, they are able to customize the space to look like their studio, play the music they want and have the gallery open or closed to the public.Each artist was briefed beforehand so they came to the Gallery with a set of ideas specifically, which excited the artists because the lockdown halted a lot of their projects and exhibitions. The artists responded well to the initiative as it gave them a good challenge that pushed them to do something different during this pandemic.After the artist’s ‘residency’ at the Gallery, the paintings are displayed in the gallery space. Once a month Koman’s wife Mansri arranges ‘The Artist Lunch’ which allows art lovers, connoisseurs and collectors to come together to the Gallery, admire the art, talk to the artist personally and have lunch together at Komaneka Rasa Sayang.Each ‘Living in Gallery’ session will utilize the technology and showcase the gallery digitally. The Gallery website will be updated with new paintings every month and the process will be recorded live on social media.The purpose of this program is close to Koman’s heart. “I was born in a family who are very close to art and the center of the Indonesian art movement. It started from my grandparents, I Wayan Neka, who was a sculptor and my father, Wayan Suteja Neka, who was the patron of modern art in Indonesia.My father invited a lot of Indonesian master artists to live in Ubud, rent them a house and work closely together with my father Wayan Suteja Neka. I met all of the master Indonesian artists which is a special opportunity. With this program, I want to share the experience of working closely with artists of my generation.”(Ubud, Bali – November 2021) Komaneka Fine Art Gallery is excited to invite their roster of Bali-based artists to “check-in” and work inside at the Gallery space in the ‘Living in Gallery’ program. Komaneka Fine Art Gallery was founded by Koman Suteja in 1998 and its mission is to showcase the richness of Indonesian art with a focus on emerging and established Balinese painters.Koman Suteja and his wife Mansri Trisniawati started this ‘Living in Gallery’ after the Covid-19 lockdown that restricted the gallery from opening to the public. It affected the artists as well because it halted their exhibition plans. Because the Gallery had to close, Koman says it “brought back memories to the original ideas of the space in the gallery and why it was created. Why don’t we invite the artists to use the Gallery?”‘Living in Galery’ program invites artists to ‘reside’ and create in the Gallery’s second floor, which is 200m2 wide. The artist is allowed a total of 24 hours to work, which can be split into different days. Because each artist has different styles and processes, they are able to customize the space to look like their studio, play the music they want and have the gallery open or closed to the public.Each artist was briefed beforehand so they came to the Gallery with a set of ideas specifically, which excited the artists because the lockdown halted a lot of their projects and exhibitions. The artists responded well to the initiative as it gave them a good challenge that pushed them to do something different during this pandemic.After the artist’s ‘residency’ at the Gallery, the paintings are displayed in the gallery space. Once a month Koman’s wife Mansri arranges ‘The Artist Lunch’ which allows art lovers, connoisseurs and collectors to come together to the Gallery, admire the art, talk to the artist personally and have lunch together at Komaneka Rasa Sayang.Each ‘Living in Gallery’ session will utilize the technology and showcase the gallery digitally. The Gallery website will be updated with new paintings every month and the process will be recorded live on social media.The purpose of this program is close to Koman’s heart. “I was born in a family who are very close to art and the center of the Indonesian art movement. It started from my grandparents, I Wayan Neka, who was a sculptor and my father, Wayan Suteja Neka, who was the patron of modern art in Indonesia.My father invited a lot of Indonesian master artists to live in Ubud, rent them a house and work closely together with my father Wayan Suteja Neka. I met all of the master Indonesian artists which is a special opportunity. With this program, I want to share the experience of working closely with artists of my generation.”(Ubud, Bali – November 2021) Komaneka Fine Art Gallery is excited to invite their roster of Bali-based artists to “check-in” and work inside at the Gallery space in the ‘Living in Gallery’ program. Komaneka Fine Art Gallery was founded by Koman Suteja in 1998 and its mission is to showcase the richness of Indonesian art with a focus on emerging and established Balinese painters.Koman Suteja and his wife Mansri Trisniawati started this ‘Living in Gallery’ after the Covid-19 lockdown that restricted the gallery from opening to the public. It affected the artists as well because it halted their exhibition plans. Because the Gallery had to close, Koman says it “brought back memories to the original ideas of the space in the gallery and why it was created. Why don’t we invite the artists to use the Gallery?”‘Living in Galery’ program invites artists to ‘reside’ and create in the Gallery’s second floor, which is 200m2 wide. The artist is allowed a total of 24 hours to work, which can be split into different days. Because each artist has different styles and processes, they are able to customize the space to look like their studio, play the music they want and have the gallery open or closed to the public.Each artist was briefed beforehand so they came to the Gallery with a set of ideas specifically, which excited the artists because the lockdown halted a lot of their projects and exhibitions. The artists responded well to the initiative as it gave them a good challenge that pushed them to do something different during this pandemic.After the artist’s ‘residency’ at the Gallery, the paintings are displayed in the gallery space. Once a month Koman’s wife Mansri arranges ‘The Artist Lunch’ which allows art lovers, connoisseurs and collectors to come together to the Gallery, admire the art, talk to the artist personally and have lunch together at Komaneka Rasa Sayang.Each ‘Living in Gallery’ session will utilize the technology and showcase the gallery digitally. The Gallery website will be updated with new paintings every month and the process will be recorded live on social media.The purpose of this program is close to Koman’s heart. “I was born in a family who are very close to art and the center of the Indonesian art movement. It started from my grandparents, I Wayan Neka, who was a sculptor and my father, Wayan Suteja Neka, who was the patron of modern art in Indonesia.My father invited a lot of Indonesian master artists to live in Ubud, rent them a house and work closely together with my father Wayan Suteja Neka. I met all of the master Indonesian artists which is a special opportunity. With this program, I want to share the experience of working closely with artists of my generation.”(Ubud, Bali – November 2021) Komaneka Fine Art Gallery is excited to invite their roster of Bali-based artists to “check-in” and work inside at the Gallery space in the ‘Living in Gallery’ program. Komaneka Fine Art Gallery was founded by Koman Suteja in 1998 and its mission is to showcase the richness of Indonesian art with a focus on emerging and established Balinese painters.Koman Suteja and his wife Mansri Trisniawati started this ‘Living in Gallery’ after the Covid-19 lockdown that restricted the gallery from opening to the public. It affected the artists as well because it halted their exhibition plans. Because the Gallery had to close, Koman says it “brought back memories to the original ideas of the space in the gallery and why it was created. Why don’t we invite the artists to use the Gallery?”‘Living in Galery’ program invites artists to ‘reside’ and create in the Gallery’s second floor, which is 200m2 wide. The artist is allowed a total of 24 hours to work, which can be split into different days. Because each artist has different styles and processes, they are able to customize the space to look like their studio, play the music they want and have the gallery open or closed to the public.Each artist was briefed beforehand so they came to the Gallery with a set of ideas specifically, which excited the artists because the lockdown halted a lot of their projects and exhibitions. The artists responded well to the initiative as it gave them a good challenge that pushed them to do something different during this pandemic.After the artist’s ‘residency’ at the Gallery, the paintings are displayed in the gallery space. Once a month Koman’s wife Mansri arranges ‘The Artist Lunch’ which allows art lovers, connoisseurs and collectors to come together to the Gallery, admire the art, talk to the artist personally and have lunch together at Komaneka Rasa Sayang.Each ‘Living in Gallery’ session will utilize the technology and showcase the gallery digitally. The Gallery website will be updated with new paintings every month and the process will be recorded live on social media.The purpose of this program is close to Koman’s heart. “I was born in a family who are very close to art and the center of the Indonesian art movement. It started from my grandparents, I Wayan Neka, who was a sculptor and my father, Wayan Suteja Neka, who was the patron of modern art in Indonesia.My father invited a lot of Indonesian master artists to live in Ubud, rent them a house and work closely together with my father Wayan Suteja Neka. I met all of the master Indonesian artists which is a special opportunity. With this program, I want to share the experience of working closely with artists of my generation.”ng closely with artists of my generation.”)
Desa Bugbug + (During this ritual a drawing of a giant is made on the ground using flour. This is part of the ceremonies for the 10th month called Usaba Manggung.)
Garuda Wisnu Kencana (GWK) + (Garuda Wisnu Kencana (GWK) is the largest … Garuda Wisnu Kencana (GWK) is the largest cultural park in Bali. It is located approximately 40 kilometers from the city of Denpasar, in the village of Ungasan, Bukit Jimbaran, South Kuta. GWK extends over 240 hectares and regularly features traditional art performances (kecak dance, barong dance etc.) and modern art (Viral Fest Asia, Soundrenaline, Dreamfields etc.). GWK Cultural Park is one of the tourist attractions in Bali which is currently a favorite non-coastal destination. The statue of the God Vishnu statue riding a Garuda (Statue of GWK) has become a magnet for tourists from abroad. The Statue of GWK was made with almost 3000 tons of copper by Balinese artist, I Nyoman Nuarta, at a budget of around Rp 450 billion. The GWK statue was conceived of in 1989, but the laying of the first stone only began in 1997 in Ungasan Village, Bukit Jimbaran by I Nyoman Nuarta and Joob Ave. Technically, the GWK statue was completed on August 1, 2018, but welding was still needed as a 'finishing' so that the 754 pieces of copper-bronze plates would be completely integrated. The GWK Statue was finally completed a few days later and was inaugurated on September 22, 2018 by President Jokowidodo. The statue reaches 121 meters wide by 64 meters. Reputedly, this statue is the third tallest statue in the world today. According to Nyoman Nuarta, the statue is a symbol of the goal of saving the environment: Wisnu is the inspiration for preserving nature and harmony while Garuda is a symbol of sacrifice and glory. Humans promise to nurture, develop and protect the environment. Humans can destroy and improve it.nment. Humans can destroy and improve it.)
Tenganan Dauh Tukad + (Karangasem Regency in East Bali is an area … Karangasem Regency in East Bali is an area of intense beauty dominated by Bali’s highest and most sacred volcano. Mt Agung’s 3,142-metre peak, and its dramatic foothills and valleys shaped by centuries of lava flows, combine to create a landscape unrivalled anywhere in Bali. The great mother temple of Besakih sits perched against this wondrous backdrop.Hidden in these hills and valleys is a string of ancient Bali Aga (old Bali) villages. Bali Aga people are the original aboriginal people of Bali. They were living in Bali long before the ancestors of most of today’s Balinese arrived as part of Hindu Javanese waves of migration. The Bali Aga culture can be traced back to the 11th century. However, it is very much alive today. The Bali Aga people celebrate their culture with unique temple ceremonies and festivals that have remained virtually unchanged over the centuries.Once entering the walled village of Tenganan Pegringsingan, 70 kilometres from Denpasar, I found myself on a wide dirt path connecting the village’s housing compounds and temples. Pointing out the path, my guide explained that the village council has voted against getting a more modern road. “The Government made the offer in 1990,” Wayan explained. “After much discussion, the two village banjars (councils) refused the offer. We like it this way, and anyway, asphalt is too hot”.The Bali Aga people place importance on balance, and ensuring harmony with nature. The village is organised into four associations, which help to ensure this balance and the smooth running of the community. There is an association for married men and one for married women, as well as an association for boys and one for girls. One role of these organisations is to oversee the many community rites of passage. Children begin to learn about their roles and duties as early as seven years of age.The calendar of temple ceremonies and festivals is full, with events involving unique arts and rituals every month. Many of these rituals involve dance, which require elaborate ceremonial dress and headgear, which is unique to the Bali Aga villages.I planned my visit in June, the fifth month of the Balinese calendar, to witness the largest religious festival, Usaba Sambah (also known as Sasih Sembah).Wayan told me that anyone can come and see Usaba Sambah and other unique events and that his village welcomes an increasing number of guests every year.“You just missed the coconut event at Tenganan Dauh Tukad Village, a nearby Bali Aga village,” Wayan said. “This involves young boys trying to balance heavily laden coconuts on a shoulder pole, some with up to 40 coconuts.”“The boys must dodge a hail of flying bananas. If they drop a coconut, they get fined,” he continued. “Of course, the bananas hit them, left, right and centre and chaos reigns. This ritual is all about encouraging strength and focus, and clearly, it tests participants in this way. The ceremony is called Sabatan Biu, or Banana War.”As I walked through the village, I came upon a tall wooden swing set structure. Only unmarried young boys and girls are allowed to ride on these swings in a special ceremony that forms part of Usaba Samba, which resembles the old Vedic rites of boys and girls.I watched as the girls dressed in elaborate traditional hand spun fabric climbed onto the swing chairs. Some boys also mounted the swings while others manually propelled the swings high into the air. The girls were very flirtatious, but with a pure kind of innocence, while the boys remained stoic. As the old rotation wheel device got faster and faster, the pitch of the girl’s squeals got higher and higher. It was fascinating to watch. Wayan explained the ceremony symbolises the unity of the sun and the earth, but that it also symbolises a courtship ritual.In the afternoon I ducked into one of the ikat (weaving) shops in the village and talked with the owner who confided, “Oh, I remember that swing ritual. I got to swing on it five times, and then I was married.” She also invited me to come back the next day, at 5.30 AM to witness another very special ritual.This ceremony involved young girls walking in single file, in delicate white lace and silk, towards the mountains. When they reached the particular place in the forest, they took part in a special ceremony which involved winding long strands of fresh coconut, cut in the forest, into each other’s hair. The girls then read from sacred texts, and Wayan explained that this was to reinforce and cultivate self-control and honesty. Tenganan Village adheres to many sacred rituals, combining a nurturing element with strict adherence to customary laws. Implanted from early childhood, rituals like this are deeply respected, so much so, that if you move out of the village you are not welcomed back, nor are villagers allowed to marry an outsider. Only Bali Aga people are allowed to live in the village. I was told by one of the elders that one of the village leaders recently fell in love with a German girl, and he had to move away. He can never come back to live in the village. Around 2 PM a large crowd started to gather for the Perang Pandan (Pandan Wars). Young men and brave boys clad in sarongs prepared to engage in a coming-of-age ritual combat. They locked against each other, shoulder to shoulder in a ritualistic fight known also as makare-kare. The combatants attacked each other with thorny pandanus leaves and attempted to whip their opponents’ bodies. During the ritual blood must flow in order to honour the god Indra, the god of war. Each fighter had a woven rattan shield, although they often discarded it in the fury of the fight and I could see blood being drawn from the sharp thorns. A referee controls the battle, ensuring there was no violence at any time.It was an honour to be so openly welcomed to Tenganan Village. Their local law decrees that no village land can be sold, and so we can be rest assured that the mysterious and colourful Bali Aga customs and traditions will remain alive well into the future.ns will remain alive well into the future.)
Legian + (Legian Village currently cover the same (g … Legian Village currently cover the same (geographical) area, consisting of 3 banjars. In the traditional village “wewengkon”, the three banjars are the SukaDuka Banjar Legian Kaja, Legian Tengah (Pekandelan) and Legian Kelod. Bordered by the Seminyak Village area in the north and Kuta Village in the south, this area is adjacent to the river (Tukad Mati) and rice fields. Legian Village is known as a tourism area which is equipped with many tourism facilities including entertainment centers. In addition, Legian Village also has a very beautiful beach which is the main tourist destination for tourists.Based on history, Legian village began with the discovery of a Otaheite gooseberry that tastes sweet. This is unusual because Otaheite gooseberry generally have a sour taste. Since then, the village area is called Karang Kemanisan.The name Karang Kemanisan is known from the utterances of the "sadeg patih" (humans who are used as mediators for Ida Bhatara) who are trance when religious ceremonies are carried out at the Legian Village temple. They often say "Damuh Karang Kemanisan".The name Karang Kemanisan also contains the philosophy of future generations who occupy the place to always maintain harmony in attitude and behavior and maintain the beauty of nature and its environment. So that they can be blessed with prosperity and well-being. Over time the name Karang Kemanisan was changed to Legian. The word legian comes from the root word "legi" which also means sweet. In the Old Javanese language, legi also means sweet.The Taksu Murti Kemanisan Art Studio in Legian then performed artistic performances including the composition of the Legian Manis Bebarongan Tabuh, the Rerejangan Upasaksi Dance, the Tri Taksu Creation Dance and the Telek Dance according to the characteristics of the Legian Traditional Village. This dance was even performed at the 41st Bali Arts Festival (PKB).Now Legian Village continues to improve. Apart from being a fisherman, most Legian residents make a living from the tourism sector. Like working in a hotel or opening an art shop. The area around Legian is also well organized so that it makes tourists who want to visit comfortable.es tourists who want to visit comfortable.)
Pura Merajan Selonding + (Merajan Slonding Temple is one of the Besa … Merajan Slonding Temple is one of the Besakih Temple complexes which has an important position. This temple is located to the north of Ulun Kulkul Temple or people call it to the west of Ulun Kulkul Temple. This temple is a place to store a traditional musical instrument called Slonding. Slonding is a type of Balinese gamelan used during important religious ceremonies at this temple.rtant religious ceremonies at this temple.)
Abang + (Rejang Dance at Tista, Abang)
Pantai Sanur + (Sanur is one of the icons of Bali's well-k … Sanur is one of the icons of Bali's well-known tourism. The establishment of a Belgian painter named Adrien-Jean Leyur de Merpres in Sanur is the history of the development of the coastal area of Sanur. Along with the increasing development of tourism, in 1957 the first hotel in Sanur Village was built with the name Hotel Sindhu Beach, followed by the construction of the Bali Beach Hotel which began operating in 1966. Although marine tourism was not yet known at that time, in Sanur a development project for Sanur was formed. which was called the Beach Market in 1971. The Beach Market provides sailing services by jukung, namely traditional boats, exhibitions of sculptures, paintings, dance performances and the management of cafes and restaurants.d the management of cafes and restaurants.)
Desa Sidetapa + (Sidetapa Village is an old village or bett … Sidetapa Village is an old village or better known as Bali Aga Village. Previously, this village was named Gunung Sari Mupload Tapa Village. It is estimated that Sidetapa Village was founded in 785 AD by immigrants from: Sector of the Batur Region, from the Dauh Toro Ireng Region, and from the Java Region.The residents of Sidetapa Village at that time consisted of 3 groups:1. A group calling themselves Pasek residents who inhabit the Leked . area2. The group calling itself the Patih residents who inhabit the Kunyit Village area.3. The group calling itself Batur residents who inhabit the Sekarung area.Some of the cultural heritage of Bali Aga in Sidatapa Village that can still be found is the existence of an old traditional house called Bale Gajah Tumpang Salu. This building is made of four pillars according to the elephant's feet and has 3 overlaps (salu). Another uniqueness about some of the residents' houses being built behind the road is that they are hidden and don't want to be known, maybe different from houses in general, preferring road access as the front view of the house. The walls and floors of the building still use materials from the ground as a complement, woven or whole bamboo sticks are used.Generally, the people in this village are craftsmen of Sidetapa's typical woven bamboo crafts. Some cultural traditions such as dances and rituals typical of Sidetapa Village, namely the Rejang Dance, Jangkrang Dance, Ngabuang Dance, Sang Hyang Gandrung Ritual, and Ngaben which are typical of the village.d Ngaben which are typical of the village.)
Museum Bajra Sandhi + (Standing in the centre of a park, Bajra Sa … Standing in the centre of a park, Bajra Sandhi Museum displays spectacular and artistic Balinese architecture. Located in central of Denpasar, this is where you can learn a lot about the history and culture of Bali. The museum is a dedication to the struggles of the past and reminds future generations of culture and the need to preserve it. The site has numerous dioramas that depict the political and economic events of Bali dating back to thousands of years. The surrounding areas of the museum is a great place for runners, cyclists and yoga enthusiasts to enjoy the park.Collections:One of the important collections in this museum is the Bajra, most commonly used by Hindu priests while chanting Vedic mantras during the religious ceremonies. This historical museum captures the Balinese struggle against the Dutch colonial invasion. The Balinese Struggle Monument with its Balinese architecture and detailed carvings is an important part of the museum. This one of the museums in Bali that are more frequented by locals, which makes it a less busy destination for visitors!See also: https://dictionary.basabali.org/Place_Monumen_Perjuangan_Rakyat_Bali_Bajra_Sandhionumen_Perjuangan_Rakyat_Bali_Bajra_Sandhi)
Tenganan Dauh Tukad + (Tenganan Dauh Tukad is a Bali Aga or Bali … Tenganan Dauh Tukad is a Bali Aga or Bali Mula village in the east of Bali, district of Karangasem. The village is a separate entity under the village of Tenganan Pegringsingan.Bali Aga villages are villages that have existed in Bali before the Majapahit kingdom invaded the island.Tenganan Dauh Tukad adheres to a different calendar from the usual Balinese Calendar. The village has a few characteristic ceremonies, nowhere to be found in other villages.es, nowhere to be found in other villages.)
Desa Tenganan Pegringsingan Karangasem + (Tenganan Pegringsingan is a Village that i … Tenganan Pegringsingan is a Village that is located in the eastern part of Bali. Even among the highly spiritual villages in Bali, Tenganan Pegringsingan is still considered as a very unique and secluded one. In fact, this Village is one of the few Aga villages in Bali.Tenganan Pegringsingan is very special in terms of cultural heritage as it is almost free from any outside influence. The villagers are trying to keep their Village pure and clean. As a result, Tenganan Pegringsingan is highly unique, even compared to other exotic villages in Bali....One of the rituals performed by the people of Tenganan village is the Pandan War. Two young men were pitted against each other in a special arena. Each young man carries a weapon; a bunch of thorny pandan leaves which have sharp spines. They try to inflict each other’s bodies with lashes from the leaves’ sharp thorns. This is not a spectacle for those faint of hearts because there will be blood!int of hearts because there will be blood!)
Tenganan Pegringsingan + (Tenganan Pegringsingan is a village in the … Tenganan Pegringsingan is a village in the regency of Karangasem in Bali, Indonesia. Before the 1970s was known by anthropologists to be one of the most secluded societies of the archipelago.Rapid changes have occurred in the village since the 70's, such as the development of local communications by the central government, the opening up to tourism, the breaking of the endogamic rules. Tourists are attracted to Tenganan by its unique Bali Aga culture that still holds to the original traditions, ceremonies and rules of ancient Balinese, and its unique village layout and architecture. It is known for its Gamelan selunding music and geringsing double ikat textiles.Many of the life-cycle rituals of the Tengananes are similar to those of the Balinese in general, but have subtle differences. Some ceremonies are unique. One of the distinguishing features is the use of geringsing. By virtue of their magical qualities geringsing are not only capable of keeping impurities and danger out of the village, but also shield and protect humans from baleful influences during rites of passage as they transition from one phase of life to the next. The Tengananese receive their first geringsing at the hair cutting ritual. His hair is cut and placed in a basket which is placed on a folded geringsing on the balé tengah, on which the Tegananese both enters and leaves the world. In the ceremony that admits a boy or girl to the youth association of the village, they are carried in a geringsing cloth on their father's right shoulder. In the concluding ceremony of teruna nyoma which is the initiation, the candidates wear a geringsing and bear a keris. for the tooth filing ceremony, an essential rite of passage for all Balinese Hindu, the participants pillow is covered by geringsing. After death the grnitals of the deceased are covered by a geringsing hip sash. These cloths may not be used again and so usually ae sold . In the purification of the soul ceremony (muhun) the dead person's presence, which is symbolizes by an inscribed palm leaf, is also arrayed in a geringsing. In the wedding ceremony the groom invites his in-laws to visit his parents home where the couple, dressed in festal geringsing clothing while relatives bring symbolic gifts which are placed on a geringsing cloth.ts which are placed on a geringsing cloth.)
Tenganan Dauh Tukad + (The Island of Bali is developing fast, in … The Island of Bali is developing fast, in part due to its popularity as a tourist destination. Despite this, there are some villages still occupied by the indigenous people of Bali, where little has changed over the centuries. The rituals of these Bali Aga villages, which lie mostly in the east, are fascinating for foreign travellers and for other Balinese, who come in large numbers to witness these special ceremonies. I arrived around 7 PM in Tenganan Dauh Tukad village the night before the Pandan War. Walking up the nearly deserted main street, I discovered that most of the community members were attending a prayer ritual in the main temple. Soon, however, people started streaming out of the temple and I struck up a conversation with Komang, who very kindly invited me back to his house for coffee and cake. After coffee, Komang and I made our way to a smaller village temple where young people were already filing through the gates. The boys moved to one side while the girls, beautifully adorned in traditional attire, took their place on a small raised platform on the opposite side. Soon enough, the boisterous boys started throwing romantic words in the direction of the ever so bashful girls. A couple of the male suitors were very poetic. Others were less so, trying phrases like, “How about going on my scoopy (motorbike) together, just you and me – yes?” It was highly entertaining, and even the priests were laughing at the young people’s antics. The evening got more and more lively as the suggestions became increasingly inventive. Komang explained that the event was a kind of pre-courtship, where many boys were hoping to impress a future bride. Tenganan Dauh Tukad village.Preparation of Pandan War.Some of the girls threw their own words back or laughed, but the overall intention was clear - for connections to be made. In the end, I was not sure if any of those boys were successful, but it was not for want of trying.After the exchanges, everyone filed out and began to prepare for the next ritual – the race around the village. This involved eight of the younger boys climbing onto the backs of older boys for a piggyback style relay race. The younger boys clung on for dear life as the runners used all their strength and speed to complete three circuits of the village. Somehow these boys managed to keep their traditional finery intact, their krises (sacred dagger with a wavy-edged blade) lodged firmly into their fine double ikat textile sarongs and I did not see one ornate golden crown fall.There were also eight pigs who at times dodged and weaved between the boys and, at times, seemed to be chasing them. The pigs were on poles and hoisted on the shoulders of the male or (strong) female bearers. These pigs had been slow cooked over a coconut shell fire. There were a lot of yells of encouragement from the crowd as these eight boys and eight cooked pigs ran for their lives. The whole affair was incredibly noisy and a lot of fun. After the excitement, I was invited back for a suckling pig feast with Komang’s family. There was a variety of pork dishes, including sate, spare ribs, sausage and a delicious pork stew with banana stems. Over dinner, Komang briefed me on the origin of the Pandan War ritual, known locally as Makare-Kare.The young Balinese boys.He explained that this annual ceremony was to honour the God of War, Indra. Dating from Vedic times, Indra has been seen as the supreme ruler of the gods and hailed as the god of war and of thunder and storms. He is revered as the greatest of all warriors who can defend the gods and mankind alike against the forces of evil.The day of the Pandan War was hot and so I found myself a shady spot well before it was due to start. While waiting, I struck up a conversation with Ayu, from Tabanan, “I have travelled three hours from my village to be here,” Ayu said. “I would not miss this Pandan War for anything. I came last year too. This original Balinese culture is so different from the Balinese culture in my village. The Pandan War ritual is over 1,000 years old, and not found anywhere else in Bali. It is a marvel and I think it’s important for my children to see it.”The War started in the early afternoon under an intense hot blue sky. The gamelan orchestra struck up their gongs, drums and percussion instruments as the first two warriors appeared on the stage holding pandanus leaves with razor sharp spikes. As they engaged in battle, the orchestra’s tempo kept getting faster and faster, eventually reaching fever pitch. Ayu explained the gamelan players were skilfully matching their rhythm with that of the fighting. I was mesmerised by the deep lunges and agile foot movements of the successive pairs of warriors appearing before the crowd. Their fast and furious strikes made the large crowd go into frenzy. The fighting got pretty gruesome at times, with most battles resulting in a bit of bloodletting. The referee had to move as swiftly as the warriors to control the fights, and many had to be broken up. The warriors indeed have to be very brave but, as the afternoon wore on, many more stepped up to take on the challenge. This included rounds with boys as young as eight years old. Despite the drama of the fighting, throughout the ritual there was a wonderful spirit of comradery among the warriors, and smiles were often exchanged between opponents. Ayu’s sister, Putu, nudged me, “I think they are actually dancing. That is the way I explain it to my children, so they don’t get too upset.”Eight of the younger boys climbing onto the backs of older boys for a piggyback style relay race.The event was a kind of pre-courtship, where many boys were hoping to impress a future bride. After each fight, the two opponents left the stage immediately, streaked with blood but giving one another one last smile and then they smeared a yellow paste on each other’s wounds.“I was only eight years old when I started to fight,” Komang said after his round. “I fight every year.” After turning his back to show me his wounds he said, “It’s not so painful. The first time it really hurt. Now I am used to it and can master mind over matter, and I barely feel it. The paste we rub on each other’s backs is turmeric and other herbs. It will be all healed in three days.”As the War raged, demure young village maidens watched from the adjacent bale. They were dressed in sparkling golden crowns and intricately woven double ikat bodices, with pink silk sashes accentuating their tiny waists. They watched the fight with an aloof air which occasionally transformed into a smile. The young women also had the most exquisite makeup and hairstyles. I struck up a conversation with Kadek, who told me it had taken two hours to get ready but assured me that it was worth it. “We have love on our mind all the time. Whether we are swinging on the old Vedic wooden swing ritual or watching the men fight with the pandanus leaves, or at the evening romantic poetry ritual, we are contemplating a suitor.”The Tenganan Duah Tukad villagers preserve their authentic, age-old aga culture with many time-honoured rituals. These villagers are in fact the oldest tribal group in Bali. The village is self-sustaining, with two major productive honey bee enterprises, a thriving Ikat fabric cottage industry and artisan miniature book production from lontar palm leaf. It also produces ata craftwork, weaving ata grass to make placemats, bags and baskets. The village is very welcoming of guests at any time.In Bali, as in all the islands I have travelled to in Indonesia, people always show great respect for visitors, and it is not uncommon to be invited into the homes of villagers for a coffee or a meal. In this deeply traditional village, however, I experienced a special sense of genuine inclusion and openness to me as an outsider.I walked away having made many new friends and felt very privileged to have learnt a little more about the Bali Aga customs and culture.re about the Bali Aga customs and culture.)
Pura Desa + (This temple is called Pura Desa because th … This temple is called Pura Desa because this temple is placed in the center of the village, which is at one corner of the catuspata (great crossroads). Pura Desa is the center for carrying out ceremonies for the benefit of the village such as Ngusaba Desa, pasamuhan batara after melis which was held before Panyepian. In some areas in Bali, Pura Desa is also known as Pura Bale Agung. This name is probably taken from the name of the Bale Agung building which is found on the first page of the temple. is found on the first page of the temple.)
Pesedahan + (Three villages come together in the Rambut Petung temple to celebrate Manis Galungan. Several gamelan orchestras are present; Kris dance and rejang take place.)