Bali Spa Tunjung Sari

Selasa, 14 April 2015

20.28

Batara Turun Kabeh Ceremony at Besakih

At the peak of the Ida Batara Turun Kabeh or congregation of the god ceremony, Friday (Apr. 3) at the Penataran Agung of Besakih, Karangasem, abundant pilgrims flocked to say prayers. From the morning before the peak, pilgrims already worshipped alternately led by local priest. Meanwhile, the peak of the ngusaba kadasa was officiated over by eight higher priests. Six of them say prayers at elephant pavilion accompanied by the coordinator Ida Dalem Semaraputra and two others at paselang pavilion.
Other than Tri Sandya, the prayers last Monday was also worshipping for 11 times led by eight higher prayers and coordinated by I Gusti Mangku Jana. The peak of the ceremony was also accompanied with selonding gamelan music and Rejang Dewa sacred dance presented by devotional dancers from the IHDN Denpasar. In addition, the peak of the ceremony took place more solemnly and accompanied by gamelan music, puppet show, Baris dance and Sidakarya mask.
Meanwhile, one of the committees, Jero Mangku Suyasa, conveyed that Ida Batara Turun Kabeh procession of this year is not much different from the previous year. Many deities come down to earth. They abide in the meeting hall and witness the worship after the peak last Friday until next 21 days and the sanctified effigies of the deities will be put into respective shrine on Friday afternoon (Apr. 24). During the 21 days, pilgrims get a chance to say prayers in order to apologize for a mistake having been made as well invoke salvation and grace.http://bali-travelnews.com/

Selasa, 10 Maret 2015

04.51

Tunjung Sari Spa Traditional massage
A shooting tension relieving treatment which uses combination of pressured muscle manipulation in warm sweeping strokes to the entire body,this treatment uses the traditional oil.

04.43

Ratu Subandar Temple at Besakih

The Ratu Subandar Temple at Besakih, Karangasem, is located at the upper three stairs from the Penataran Agung Besakih. Local temple priests Mangku Cik, Gusti Mangku Suputra and Jero Mangku Ugu met on the sidelines of serving the pilgrims not long ago. They said that 99 percent of the pilgrims worshipping at the temple were businessmen or traders. Mangku Cik conveyed that the Ratu Subandar Temple had the same function as Melanting Temple. The latter temple of swagina or profession is located above the market. Especially at Besakih, there was also the Ratu Subandar Temple.
Essentially, there are two shrines at this temple. One shrine is located on the left namely the Ratu Ulang Alu. The deity abiding and adored at the shrine is illuminating the pengalu or peddlers. To the right side of this shrine is the shrine of Ratu Ayu Subandar. She is adored by entrepreneurs or traders. Both shrines apply the Balinese architectural style. However, the hallmark of Chinese culture or influence is very dominant in which the accessories and fabrics of the shrines are all in red showing typical Chinese attibutes. Similarly, each corner is also embellished with red lantern ornaments.
The local temple priests are not certain about the history of the Ratu Subandar Temple in the upper eastern part of the Penataran Agung. This temple is located above the northern corner of Penataran Agung. It shows the Chinese influence brought by traders or merchants (Subandar) since the seventh century in the Srivijaya era and which continued through to the Majapahit era. It is estimated that the Chinese traders have influenced Balinese culture and economy since ancient times, where many interactions occurred between the local community and Chinese merchants, which is why both these communities worship Ida Ratu Ayu Subandar at Besakih Temple. Mangku Cik said the piodalan or temple anniversary of this temple fell on Galungan, Buda Kliwon Dungulan.http://bali-travelnews.com

04.40

Pura Dalem Balingkang

Showing Chinese Influence in Bali

Pura Dalem Balingkang yang terletak di sebelah Utara Gunung Batur ini, erat kaitanya dengan raja-raja di Bali jaman dahulu, dan terjadi akulturasi agama Hindu dan Buda yang berasal dari Negeri Tionghoa. Pura Dalem Balingkang berlokasi di Desa Pinggan, Kintamani, Bangli. Dibangun pada abad ke-11 oleh raja Sri Jaya Pangus Harkajalancana, dalam pemerintahannya beliau didampingi oleh permaisuri utama yaitu Sri Parameswari Induja Ketana, beliau adalah putri utama yang berasal dari Danau Batur.
Dalam masa pemerintahanya raja Sri Jaya Pangus menikahi seorang wanita cina yang bernama Kang Cing Wei yang bergelar Putri Ayu Subandar. Karena perbedaan agama pernikahan itupun ditentang oleh banyak kalangan termasuk penasehat raja yaitu Mpu Siwa Gandhu yang merupakan Bhagawanta di kerajaan. Karena suatu musibah istana Sri Jaya Pangus hancur porak poranda dan putri Kang Cing Wei ikut meninggal dalam bencana tersebut.
Nama Dalem Balingkang, berasal dari kata Dalem yaitu kata tempat Kuta Dalem Jong Les dan Balingkang dari asal kata Bali yang artinya raja yang menguasai jagat Bali, Ing artinya permaisuri, Kang berasal dari nama Putri Kang Cing Wie. Karena kecintaan raja dengan putri sehingga pasca wafatnya putri dibangun pura ini, dan keberadaan pelinggih Putri Ayu Subandar yang didominasi warna mencolok merah dan kuning, yang merupakan dominasi warna bangunan wihara.http://bali-travelnews.com

Jumat, 27 Februari 2015

01.47

Painting along 1 km, 500 to 1,000 local painters engaged

Canvas along one kilometer will be spread in the area of Kebo Iwa Stadium to the area of Car Free Day, Gianyar Urban Park. The canvas will invite about 500 to 1,000 local painters to brush their colors on white canvas. It was revealed when some senior painters of Gianyar such as Ketut Budiana, Made Kedol Subrata, Tjokorda Gde Raka, Wayan Karja, I Made Supena, I Made Mertanadi and Pande Ketut Bawa gathered and discussed to enliven the anniversary of Gianyar town next April 2015.
The painting demo along 1 km would involve a number of potential painters of Gianyar and those having got their fame. All the participants were expected from junior high, high and vocational school students, alumni of the fine art vocational school, self-taught painters, painting studio and the disabled persons. The elements of the subdistrict Advisory Council & Development of Culture (Listibya) would also be involved to hunt painters in their respective region. “Participants of the junior high school are those having outstanding achievement, at least as champion in the subdistrict level,” said Committee Chairman, Nyoman Arjawa.
The paintings that would adorn the canvas would not be contested. If there would be no change, the painting demo would take place at Kebo Iwa Stadium Gianyar and surrounding areas coinciding with the Car Free Day, Sunday (Apr 12). “It is just the initial preparation, we’ll finalize it again in subsequent meetings,” said this former member of the Gianyar House.
Meanwhile, the Head of Gianyar Culture Agency, IGN Wijana, said the painting along 1 km was the idea of Gianyar regent aiming to raise the potential of Gianyar as the warehouse of the arts and empower the potential and senior painters. “This activity is not a show-off but rather aiming to provide space for painters to express their inspirations so that their works will be better known,” said Ngurah Wijana.
Similar expectation was also delivered by Made Kedol Subrata. The works to be produced later would reflect Gianyar as the town becoming the warehouse of the arts. “The works of the art come down from the heart. Thus, this event is not only a ceremonial one but actually produces the works with taksu (divine vibration) and it can be proud of,” he said. (dar)http://bali-travelnews.com

Selasa, 17 Februari 2015

01.46

Ngebek Widhi at Penataran Pucak Mangu

Invoking Fertility and Increasing Crops

As an expression of devotion and gratitude to God who has been bestowed welfare for universe, especially the fertility of plants at subak area, people organized a ceremony known as ngebek widhi at Penataran Pucak Mangu Temple, Tinggan village, Petang subdistrict, Tuesday (Feb 3). This ceremony was regularly held once a year coinciding with full moon in February. Other than attended by pilgrims from local village, it was also attended by Deputy Regent of Badung, I Made Sudiana, with Regional Secretary of Badung government, Kompyang R. Swandika and others.
According to Jero Gede Mangku Penataran Puncak Mangu, the meaning of the ngebek widhi temple anniversary was highly related to subak organization chiefly the subak abian or plantation. The ritual was intended that all plants could grow well and fecundly and give maximum yields to farmers. In addition, it was also an expression of gratitude for the grace bestowed upon all creatures..bali-travelnews.com

Senin, 16 Februari 2015

19.35

Tihingan Village in Klungkung, the Center of Gamelan Craft in Bali

Tihingan village is one of the villages in Banjarangkan subdistrict, Klungkung being renowned as the central producer of traditional gamelan musical instrument. On that account, the buyer or gamelan players from various regions in Bali, even outside the region, often come to this central producer of gamelan in Bali.
Chief of Tihingan customary village, I Made Soma Wandita, said the village was inhabited by 174 households with a population of 832 people. Of that number, about 90 percent was gamelan craftsman. The rest had profession as farmer, trader, carpenter, civil servant and police. Therefore, the majority of people chose to work at their home village rather than outside the area.
The profession of making gamelan instrument is carried out through generations. In general there are two groups of gamelan artisan, namely the group in charge of making and forming various kinds of gamelan instruments and those being competent in calibrating the gamelan tones.http://bali-travelnews.com

Rabu, 11 Februari 2015

19.12

The Distinctive Okokan and Tektekan Arts of Tabanan

Tektekan and Okokan are two agrarian rooted, traditional styles of music, unique to Tabanan AKA the rice granary of Bali. Simple wood and bamboo instruments are used to create this music, which is still preserved as a living tradition and often performed for local and foreign travelers.
Okokan refers to a big cowbell made of perforated wood resembling a split drum that is struck with a palit or beater. Okotan performances include a musical instrument made of a used hoe that can generate a “teng-teng” sound when struck, as well as a kulkul or bamboo split drum used to repel birds. Played together these instruments create distinctive rhythms, known as Okatan.
The musicians who play Okonan traditional music are all farmers. Okokan born out of an agrarian tradition and preserved for generations is part of traditional peasant life -a way to kill time while waiting for the harvest season. In the past, elders made quite large Okokan instruments that were played to ward off plagues and pestilence. According to local beliefs, attacks of plague are caused by spirits that need to be driven away with a ngerebeg ritual in which this music is played.
Nevertheless, this music is also often featured in the parades of the Bali Arts Festival (BAF) and various festivals in tourist areas such as Nusa Dua, Sanur, Bedugul and others in Bali. Villages that are famous for their Okokan art include Baturiti in Kerambitan subdistrict and Mayungan, Bedugul in Baturiti subdistrict, Tabanan.
The Distinctive Okokan and Tektekan Arts of Tabanan tektekan

The Distinctive Okokan and Tektekan Arts of Tabanan tektekan

An Okokan orchestra usually consists of 30 pieces, 1 drum and 1 kajar. The number of people playing depends on the number of instruments. The Okotan songs that are played the most often sound a bit like Baleganjur gamelan music. Okokan music is also played with other Balinese gamelan instruments to make it sound more beautiful and to generate unique sounds such as those generated by the gong, drum, tawa-tawa and others.
Tektekan music was spontaneously created with the specific aim of expelling plagues and is usually played by 30- 40 farmers, who tap bamboo instruments. Etymologically, the word Tektekan is derived from the onomatopoeia of the “tek” sound emitted from striking bamboo. Because the bamboo is struck repeatedly we have the word “tektek”, coupled with the suffix “an” to denote a noun, giving us “tektekan”.
This art appeared when the villagers of Kerambitan experienced a grubug (plague). There was also one resident who was abducted and hidden by spirits (wong samar), so local people performed a nektek or ‘beating anything that could generate sound’. This nektek was meant to drive out such outbreaks in the community as well as to evoke a sense of embarrassment.
Later, people used a bamboo instrument made for this purpose, called a kulkul, which makes a “tek tek tek” sound. The nektek was carried out at nightfall and meant as an expression of gratitude to God Almighty because the plague had passed. Starting in 1965, the kulkul was incorporated into a kind of performance, which combines the tektekan played to the storyline of Calonarang, maintaining its purpose of expelling evil spirits.http://bali-travelnews.com

19.07

Tumpek Krulut

Valentine’s Day of Balinese Gamelan Arts

Hindu community in Bali will celebrate a sacred festival known as the Tumpek Krulut on Saturday (Jan 31). This holyday is the embodiment of love for the gamelan instrument in Bali. The term Tumpek Krulut is derived from the name of wuku (seven-day week based on Balinese calendar), Krulut or lulut which means intertwinement.
Deputy Dean doubling as lecturer at the State Hindu Dharma Institute (IHDN) of Denpasar, Dr. I Made Surada, said that Tumpek Krulut was a holy day for worshiping God in his manifestation as Lord Ishvara. He was the god of the art being identical to sacred sounds, musical instrument that gave rise to a wonderful sense. “Tumpek Krulut is moment to express gratitude to him,” said Surada.
Tumpek Krulut, explained Surada, was interpreted as love because the word lulut itself meant ‘love’ and ‘compassion.’ Tumpek Krulut was celebrated every 210 days on Saniscara Kliwon. “This moment is one of the implementations of Tri Hita Karana involving yajña or sacrifice. Sacrifice is part of a sincere love,” he explained.
Balinese day of love has existed since ancient times. However, many people do not understand if it is a day of love. Typically, the art instrument consecrated belongs to traditional musical instruments such as gong, gender, angklung, flute, xylophone, holy bell, selonding and saron.
In harmony with the development of time, explained the artist of arja operetta from Keramas Gianyar, the musical instrument consecrated varied. Guitar, drums, piano, trumpet and other musical instruments were also consecrated. “This development does not affect the meaning. Precisely it enriches the nuance because both can mutually fill in and develop side by side in the form of a collaborative art,” he said.
In the celebration of the Tumpek Krulut devotees did not worship to musical instruments. But they prayed for them so that they could be useful in human life, both for the owners and the audience. “A traditional artist will invoke divine energy or vibration (taksu) on that day,” he said.
He explained that procession of Tumpek Krulut ritual was based on respective local tradition and situation. It was started with a self-purification better known as suci Laksana and resumed with the arrangement of gamelan instruments. After that, the gamelan instruments were sprinkled with holy water to eliminate impurities.
The offerings applied usually contained rice cone. A grandiose offering usually used bebangkit and should be officiated over by higher priest. Meanwhile, the regular offering consisting of peras, pengambean, ajuman and tipat gong was officiated over by temple priest. “In the celebration, the people are not allowed to play musical instrument carelessly. Moreover, the sacred ones should be played with beautiful tones that can generate langu or enjoyment.www.bali-travelnews.com

Selasa, 03 Februari 2015

22.05

Ngerebeg at Dalem Kahyangan Kedaton Temple

A Symbol to Release Lust and Express Joy

Other than inhabited by population of monkeys and flying foxes, the Alas Kedaton tourist attraction also has a temple established around the 1800s. It is called the Dalem Kahyangan Kedaton Temple with a variety of uniqueness. One of them is the ngerebeg tradition always organized in the peak of the piodalan or temple anniversary falling on Anggara Kasih Medangsia.
Procession of the temple anniversary at the Dalem Kahyangan Kedaton may not last more than one day. It is a hereditary belief held by the supporting devotees. After the worship activity is ended before the sunset, the ngerebeg activity is commenced. This tradition is highly anticipated by residents, especially children.
Since the afternoon, children have been seen to prepare a means of the ngerebeg in the form of decorated tree twigs. They choose parading twigs because they are unable to bring along lelontek, bandrang, umbrellas and spear while running around the temple. After the barong sanctified effigy is taken out from long pavilion, children who join the ngerebeg tradition started cheering. Once the holy water is sprinkled, dozens of ngerebeg participants directly ran like a bullet whose trigger is pressed. After running around the temple for three times, the ngerebeg tradition comes to an end.
Chief of Kukuh customary village, I Gede Subawa, explained that ngerebeg symbolized the expression of joy because the whole series of ceremonies at the Dalem Kahyangan Kedaton had lasted perfectly. In terms of its meaning, ngerebeg stood for vivacity. Ngerebeg, said Subawa, posed a tradition having been inherited from generation to generation. “Ngerebeg also serves as symbol of lust release and expression of joy upon completion of the entire series of temple anniversary,” said Gede Subawa.
It was said the Dalem Kahyangan Kedaton surrounded by population of grey monkeys and thousands of flying fox had four entrances in the four directions of the compass. Then, worship at the temple was not allowed to use ritual means such as kewangen and incense and installation of penjor was also prohibited. Then, sweeping at the temple courtyard was not allowed to use a broom, but should use tree branches made into a broom.
Besides, the sampian festoon should be made from the leaves of gold banana. The use of red begina cake in the offering was not allowed, either. Another unique characteristic was that the innermost courtyard occurred in the lowest position. At the time of temple anniversary, all the processions including the prayers en masse should be completed before sunset.

Rabu, 28 Januari 2015

20.05

Celukan Bawang favorite port for skippers

Existence of the freight stevedoring pier at Celukan Bawang Harbor, Gerokgak, becomes a featured icon for the Northern Bali community. As a natural and convenient harbor for skippers, this largest harbor in Buleleng has become favorite sojourn for barges which often transport goods to various towns in Bali.
The Head of Buleleng Development Planning Board (Bappeda), Gede Suyasa, said that designation of Celukan Bawang Harbor was very appropriate for barges and cruise ships to anchor in Bali. It was enabled because the construction of Celukan Bawang Harbor was natural without too big ocean waves. “According to provincial Spatial Plan, it should become the center of all stevedoring activities in Bali. Based on the experience of skippers, Celukan Bawang Harbor is the most convenient harbor for cruise ship to berth. As a natural harbor, the waves are not high and surrounding condition is very good as well,” he said, Monday (Jan 5).
When the freight was unloaded at Celukan Bawang Harbor, the condition of road construction would become a constraint for trucks transporting the freight. “Regent of Buleleng has often delivered the issue to provincial government if the Celukan Bawang Harbor is indeed used as stevedoring harbor it must be focused on stevedoring activity. However, there was complaint of employers where if the freight is unloaded in Buleleng, when it is transported to southern Bali, the road access is even not good as it can kindle congestion at Gitgit,” he said.
Cooperation between Bali and Buleleng government to maximize the role of Celukan Bawang Harbor remained to be done as well as in the matter of road access posing the main supporting infrastructure for smooth distribution of freight. “When freight is just unloaded at the harbor, there should be an access to distribute the freight. Unlike when stevedoring activities are done at Benoa Harbor Denpasar, the access of distribution can be smoother. Thus, the road access becomes a very important part,” said Suyasa.
Meanwhile, according to Dewa Gede Adi Kumarajaya, General Manager of PT Pelindo III of Celukan Bawang Branch, if the Benoa Harbor was merely intended for tourism vessel, the entire container ships would be directed to Celukan Bawang as set forth in the master plan of Celukan Bawang Harbor. “The role of Celukan Bawang Harbor will be developed in the future into a cargo harbor. It will depend on the status of Benoa Harbor whether it has become a special tourism harbor. As a result, cargo ships will certainly be directed to the North,” he said.
Stevedoring activities at Celukan Bawang covered the commodities such as iron, timber and cement, including the locally made cement of Indonesia to Vietnam. Distribution of cement was mostly sent to Denpasar. Furthermore, the Bali provincial government plan related to the development of Soka – Seririt Toll Road as road infrastructure was expected to facilitate the distribution access from North Bali to South Bali. “Hopefully, the distribution of freight in the future can become more fluent,” he added.www.bali-travelnews.com

Selasa, 27 Januari 2015

22.40

Penglipuran Village Festival Presents Typical Culture

Creative and unique are the first impression can be captured when witnessing the Penglipuran Village Festival (PVF). Diverse cultures and handicrafts graced the second annual event. The PVF was opened by the Assistant to Bangli Regional Secretary in charge of Administration and Public Welfare Affairs, I Wayan Lawe.
The event was attended by officials of Bangli, representative of the Indonesian Tour Guides Association (HPI) of Bali Chapter, ASITA and tourism business people. The festival held at Penglipuran customary village, Kubu subdistrict, Bangli, showcased various handicraft products made from bamboo and woven fabrics.
There were also coloring contest, customary fashion show, dance, culinary contest, photography, souvenir manufacture, bondres traditional gag and bamboo music performance. It took place on December 18, 2014 to January1, 2015.Chief of Penglipuran customary village, Wayan Supat, said the PVF aimed to promote the Penglipuran customary village to international community.
Besides, the activity also developedthe tourism supporting products such as the typical souvenir of Penglipuran. “The festival also organizes the competition of souvenir-making and exhibits futuristic souvenir,” he said. At the moment, added Supat, the average tourist visits per day to Penglipuran, both of domestic and foreign, reached 125 people.
With the implementation of Penglipuran Village Festival, his party expected the number of tourist arrival would continue to rise. “Our target after the Penglipuran Village Festival is the tourist arrival can reach 300 people per day,” he added.
Excellence of the Penglipuran customary village, explained Supat, was the entrance gates of house compound (angkul-angkul) of the residents having similar design. It also remained top reserve traditional house building where the characteristic laid in the use of bamboo material. ” It seems incomplete when travelers coming to Bali without dropping in at Penglipuran customary village,” he said.www.bali-travelnews.com

Jumat, 23 Januari 2015

23.31

In Bangli, Gandrung Dance No Longer Favored

In the year 1950s, the Gandrung Dance was much loved by rural communities. Even, it became a favorite art for men. Unfortunately, the dance usually performed by female dancers had a chance to experience a bleak period, when the other kinds of art developed. “We have revived this noble art,” said Mrs. Erik Gianyar, the initiator of mass Gandrung Dance performed on Mother’s Day, last week.
In this case, the wife of Bangli Regent Made Gianyar held public figures of Pengotan customary village, where the dance had existed. His party also involved in person the former dancers. “Due to these figures, the Gandrung Dance can be seen again,” she said.
Ketut Suarno, one of the artists from Pengotan village, Bangli, said the Gandrung Dance at Pengotan village had been endangered. The Gandrung Dance art troupe had 2 dancers and 15 gamelan musicians. All the musical instruments were made of bamboo, so that they were very typical. The dance was very familiar to make itinerant performance from village to village.
Gandrung Dance, explained Mrs. Erik Gianyar, was not much different from Joged Bumbung Dance having been very popular in Bali. However, there were several characteristics distinguishing them where the dancers were required to wear polite attires, not to be sexy and deviated from the courtesy of Balinese culture.
The dance style was not much different, just on the pengibing or invited co-dancer was not allowed to make movement getting contact with the dancer. Most importantly, the porn movement was strictly prohibited in the dance. “Get motivated to preserve the wealth of Balinese culture, we try to display the Gandrung Dance en masse,” she explained.
And what made it a unique dance was the payment of the art troupe was not using money, but using rice or the like. Results of the itinerant performance were then divided equally by the members of the art troupe. “In the 1960s, the horrific eruption of Mount Agung had contribution to the fade of Gandrung Dance,” she said.
At that time, explained Suarno, the distance of Pengotan village located on highlands was close to Mount Agung, so the eruption had great impact on people’s life. At that time, the dust and sand from the eruption of Mount Agung covered most of the people’s agricultural lands so that they could not be worked on optimally. “At that time, the people only thought about the urgent needs or groceries because life was very difficult,” he said.
To preserve the Gandrung Dance, the figures of Pengotan village coalesced into the Candra Seka Gandrung Art Troupe attempted to reconstruct the dance. To refine the Gandrung Dance reconstruction, his party also took maestro of Gandrung Dance Men Coblong, 80, and the gamelan music composer Nang Rai and gamelan musician Nang Salin.
As a result, it was quite encouraging where the Gandrung Dance was then frequently staged in various occasions during customary and religious activities at Pengotan village. As the peak of its moment, the Gandrung Dance was staged en masse on the Mother’s Day in Bangli.www.bali-travelnews.com

06.17

Rindik, a Balinese Folk Musical Art

Rindik is one of the Balinese traditional musical instruments. This musical instrument is very simple, but has a distinctive sound. Rustic, peaceful and prosperous atmosphere is depicted in the tones played. In the wedding reception, thanksgiving and other ceremonial events, rindik can become a choice of entertainment. At hotel lobby, this bamboo music is often played as a welcome music. In the performing session, rindik is usually played by three musicians. A player of lanang (female) instrument plays the selangsih tone and another plays wadon (female) instrument with a plain tone. Then, another plays a flute to give the sweet feel in every gamelan composition.
To play the blades of rindik requires a good concentration because both hands should be able to play the mallet (beater) with different tempo and composition. The beat of left hand sets the tempo, while the right hand plays kotekan in accordance with the rhythm of gamelan composition played. Sometimes it can be fast and tender. Uniform of the players is not too flossy. They usually wear fabric, saput, selempot, clothes and headdress. If the performance is intended for reception or a large ceremonial event, the uniform put on by players usually arranged beautifully like a dancer. A combination of colors and patterns has become a main thing. Sometimes, it is embellished with yellowish golden leaf.
Prof. Dr. I Wayan Dibia said the traditional musical instrument was estimated to origin from pejogedan art emerging in 1940s. Pejodegan art was the development of Joged Pingitan circa 1811. After the independence period, it then developed into Joged Bumbung having full expression and spontaneity. As a popular art, continued Dibia, rindik was very appropriate to be combined with dance movements having the formality space. At the beginning, the Joged Bumbung emerged as a sensual dance, but not erotic. “Well, in the later development Joged Bumbung features erotic motion. As a result, it kindles an unfair judgment,” he said.
According to Dibia, we could not blame them (the joged dancers) alone. “Probably, it indicates if people are in severe stress or it also becomes the people’s demand today,” said the lecturer in the Indonesia Institute of Arts (ISI) Denpasar seriously. Similar opinion was also revealed by I Wayan Wendra. This man having composed dozens of gamelan musical art said the birth of rindik was predicted to come from the tingklik (bamboo blade musical instrument). Tingklik was estimated to have existed since 1930s. “The birth of rindik started when farmers were relaxing while hitting galar (bamboo mat). As sounding fun, they were then given the tone to produce very melodious sounds,” he said.
The tingklik then used intact bamboo stuffed with resonance chamber to produce tender tone. Creativity of the Hindu community in Bali was high and then the rindik was combined with dance, so that it developed into jejogedan accompanying the Joged Bumbung dance. “Almost all the regions in Bali have this art. This musical instrument is very close to the life of farmers in Bali,” he said.To make rindik instrument, added Wendra, people used selected bamboo to generate a nice tone. Other than being dry, the bamboo should also have a matching thickness. “A fanatic rindik player usually makes it from dry bamboo at place, not cleared it first before dried out,” he said.
According to him, every region in Bali has special day to present the offerings for the gamelan instrument. Meanwhile, each craftsman would not have different ability. “People who can make the rindik have strong auditory tone of gamelan,” he said.http://bali-travelnews.com

Selasa, 06 Januari 2015

20.43

Cremation of Tjokorda ‘Sosrobahu’

Height of Bade Tower 24 meters, Paraded by 400 Residents

Cremation ceremony was the last tribute presented by the community of Ubud for the inventor of Sosrobahu technique, Dr. Tjokorda Raka Sukawati, on Anggara (Tuesday) Pahing, Sungsang (Dec 9). Even, the parade of the nine-tiered bade tower from Puri Kantor to Dalem Puri cemetery Ubud took place faster than usual.
The procession of taking out the corpse started around 12:30 a.m., preceded with a tribute memorial by military and police personnel. After that, the corpse was loaded to bade tower as high as 24 meters and then vivaciously paraded by 400 residents of Ubud.
“Previously, the parade of bade tower to cemetery could take 30 minutes, but just now it lasted very quickly, approximately 15 minutes. It happened because the spirit of the whole residents as their sincere tribute to the deceased who had built a good reputation of Ubud and this nation in the eyes of international community,” said Tjokorda Artha Ardana Sukawati at the Dalem Puri cemetery.
Dr. Tjokorda Raka Sukawati, better known as Tjokorda Sosrobahu, is the native to Bali who has a global reputation. The Sosrobahu technology he invented has been used in the Philippines, Malaysia, Thailand and even Singapore. One of the longest flyovers in Metro Manila, namely the Vilamore-Bicutan road section, also applied the invention of Tjokorda Sosrobahu. In the Philippines, the Sosrobahu technology is applied to the 298 overpass beams, while in Kuala Lumpur was applied to 135 beams.www.bali-travelnews.com

Minggu, 04 Januari 2015

04.34

Every full moon in sixth month

Pengotan youth involved in mass war

Bali has many unique traditions associated with war. All this time, the well-known war tradition is the pandanus war at Tenganan village, Karangasem and tipat-bantal war in Mengwi, Badung. Not many people know if Bangli County precisely Pengotan village also has similar war tradition namely the banana sheath war or perang papah biu.
As the name suggests, the banana sheath war is conducted by means of banana sheath. This war tradition is held en masse by hundreds of youths in the area of Penataran Agung Temple of local village every year around December. It precisely falls on full moon of the sixth month in Balinese calendar.
Before the war procession is done, people will organize a certain ritual at the local temple. The banana sheath war or Baris Babuang Dance will be preceded by senior figure of local village. To enrich the atmosphere, the war will usually be accompanied with gamelan music by local villagers.
War atmosphere will be getting more exciting when hundreds of youth of Pengotan customary village gets their turn to dance. With the command of a senior figure of the village, the banana sheath war begins. In practice, the hundreds of young men will hit one another by means of banana sheath like people in brawl. More uniquely, in this banana sheath war, the participants will not recognize which are friends and foes alike. Even, in spite of hit by banana sheath, the participants will not feel any pain.
Chief of Pengotan customary village, Jro Kopok, said the banana sheath war was one of the rituals having been passed down from generation to generation by residents of Pengotan since hundreds of years ago. It was meant to invoke people’s safety and prosperity. “In addition, it is also intended to strengthen togetherness and kinship among people,” he explained.www.bali-travelnews.com

Senin, 22 Desember 2014

04.05

Two Farmer Activities in Tabanan Get Record of MURI

Although it was not a performing art, a total of 735 Balinese women roasting coffee in open space became an intriguing spectacle. Their traditional activity could draw many visitors and made them amazed. Moreover, the background was beautiful and panoramic view of terraced rice fields, so that it looked like an innovative theater.
The activities of housewives roasting robusta and arabica coffee en masse involved 735 participants from community of Belimbing tourism village, Pupuan subdistrict. From the morning, the beautiful rice field had been visited by the public, without the exception for foreign travelers who were spending holidays in Bali.
Not only that, the rice harvest activity at Subak Jatiluwih also drew the attention of the public. Such traditional activity was followed by 521 farmers in typical attires. The beautiful subak region renowned for its terraced fields seemed to have become a broad stage as presenting natural and creative theater players.
Both farmer activities in the rice granary region were held in a series with the celebration of the 521st anniversary of the town of Tabanan. Other than being unique and beautiful, the daily activities of farming communities were also attended by hundreds of participants to break the world record. The two events were recorded by the Indonesian World Record Museum (MURI). Charters of the award were handed over directly by the Senior Manager of MURI, Paul Pangka, to the initiator of the coffee roasting and mass rice harvest, Ni Putu Eka Wiryastuti, the Regent of Tabanan, Monday (Nov 24).
Regent Eka stated that Pupuan coffee owned by Tabanan had been recognized for its flavor. The coffee produced by the communities of Pupuan village had also been exhibited in national and local markets. “We want the investors running the business in this field to glance at the potential we have. In the future, we must stimulate the cooperation relationship, so that our farmers do not get difficulty to market their crops,” she said.
Regent Eka added that harvesting process by using traditional rice manual cutter would have an attraction to travelers for visiting the area. “The potential of specific rice plant development can support the food security and tourism activities,” she added.
Meanwhile, the Head of the Tabanan Forestry and Plantation Agency, Roemi Liestyowati, said that Pupuan subdistrict was an agricultural area where 43 percent of the land was planted with robusta and arabica coffee. The flavor of Pupuan coffee was incredible and already famous.
Then, the Head of the Tabanan Agriculture and Horticulture Agency, Nyoman Budana, said the organization of the mass rice harvest was expected to be able to build camaraderie and mutual cooperation in maintaining the agrarian culture in Bali.www.bali-travelnews.com

Minggu, 07 Desember 2014

23.28

Ubud Cultural Arts Festival

To commemorate the 100 years of Gong Kebyar, the Community Empowerment Agency (LPM) of Ubud village organized the Ubud Cultural Arts Festival, Friday (Nov 7). The event was centered at the Catus Pata or central intersection of Ubud by showcasing various colossal displays. Thousands of travelers from various parts of the world seemed enthusiastic to join the show.
Dozens of artists from various genres were also involved in the art extravaganza. Among them, there were Koko Jazz Music Group, Gita Semara Flute Troupe, Balot, Tindak Alit, Cok Savitri, Dayu Ani, Genta Putra Sesana Gamelan Troupe of Ubud Kelod and comedian Cedil. The festival taking place for four days also featured the performances of old artists, performances of new art composition and filled with art discussion.
Minister of Tourism, Arief Yahya, was present accompanied by relevant Director General and praised the continuity of the tradition and culture in Ubud. He appreciated the Ubud village which had earned an award from the Conde Nast Traveler magazine as the best tourist destination in Asia (The Best City in Asia) 2013. “Ubud is just like the Spirit of Bali itself, created with love,” he said.
Arief judged the Gong Kebyar was a masterpiece created by a special process and had a magnificent philosophy. With combination of the aesthetics and harmony, the gamelan produced a composition that would fascinate for anyone who witnessed it. “This festival serves as a form of learning to improve creativity,” he added.
Minister of Tourism Arief then emphasized the principle of Academia, Government, Business and Community (AGBC) to maintain the tradition ingrained in the human artists of Ubud and Gianyar in general. “In keeping with the passage of the four elements, the existence of the art and culture can survive,” said the Minister of the Working Cabinet.
The Head of LPM Ubud, Cokorda Raka Sukawati, accompanied by Chairman of the Committee, I Wayan Sudirama, invited all people to re-interpret and understand with depth of Gong Kebyar philosophy itself. The milestone of Gong Kebyar was an age shift in the community against all the complexity of the monarchical feudal systems in the 1800s.

Selasa, 25 November 2014

20.35

Cultural Wonders of the Royal Pejeng Performance

Supported by Local Artists

An art performance entitled ‘Cultural Wonders of the Royal Pejeng Performance’ drew the attention of the audience. Held at the Soma Negara Grand Palace of Pejeng, Saturday (Nov 8), it did not only present beautiful choreography, but also talented artists of local village. Dozens of foreign travelers watched it and had dinner with the festive touch of a strong culture. The performance of classical arts such as psalmody, leather puppet, human puppet and cak a cappella entitled ‘the Death of Kumbhakarna’ was staged by local artists. The art show would be regularly held every full moon with the performance of various arts, especially the mask dance and Legong Dance in accordance with the potential owned by Pejeng village.
At the beginning of the art performance last month, the artists were indeed brought in from outside the village. “It is an effort to empower the artists owned by Pejeng in the performing arts,” said senior figure of Soma Negara Palace, Cokorda Rai Widiarsa Pemayun, doubling as First Assistant of the Gianyar Regional Secretary.
Pejeng village, explained Cok Rai Widiarsa, was known to have a lot of tourism potentials either in terms of nature, art or ancient relics. However, as a companion to tourist area of Ubud village, this ancient village had not been touched maximally by the tourism sector. “To revive the cultural heritage and tourist attractions of Pejeng, we then hold an art performance every full moon or every month,” he said.
Exploration of the potential and preservation of the art and culture would be done across the villages or subdistricts in Gianyar, so that it could be developed as a tourist attraction. To achieve this goal, the government had formed a creative team in charge of exploring and drafting the potential of each village and realizing it in the form of performance on an ongoing basis.
Headman of Pejeng, Cok Agung Kusumayudha Pemayun, had confidence if the arts of Pejeng village had revived, it would bring in travelers because Pejeng village was the crossing path of travelers that would visit Batur Kintamani, Bangli. “We do hope the tourism potential of Pejeng village can rise up and become a tourist attraction that will have an impact on improving the people’s welfare,” he hoped. (BTN/015)www.bali-travelnews.com

Selasa, 18 November 2014

21.44

Mapag Toya Ritual, Invoke Rain to Overcome Drought

Prolonged drought this year has made farmers in Tabanan difficult to get water. To invoke the abundance of water, farmers in Tabanan held a mapag toya or fetch water ritual. It is a tradition of farmers conducted to invoke water in the East Selemadeg subdistrict taking place on Wednesday (Oct 15) at Bedugul Temple of Subak Aseman IV. The Regent of Tabanan, Ni Putu Eka Wiryastuti, was also present at the ceremony.
The ritual officiated over by Ida Begawan Sekar Taman from Jelijih, East Selemadeg, was the first held at subdistrict level. Meanwhile, for each subak had become a regular agenda and held each year before the planting season.
Secretary of the Subak Aseman IV, Made Wijana, explained that mapag toya ritual was intended for invoking holy water in relation to the rain invocation. Started with saying prayers at Aseman Temple, the procession was resumed to Bedugul Temple of Subak Aseman. Other than praying to invoke holy water, it was accompanied with the implementation of small-sized pecaruan exorcism rite. “We have faced drought for nearly eight months. Although we got the assistance in the form of corn seeds, fertilizers and pesticides from the government, due to the prolonged dry season, we suffered substantial losses,” he said.
Subak Aseman IV posed one of the six groups in the Subak Aseman spreading across the area of East Selemadeg. Of the 2,340 hectares of paddy field at Subak Aseman, Subak Aseman IV had an area of 140 hectares with 230 members. But since the drought, most farmers preferred to let their land be vacant without being cultivated.
Drought issues in Tabanan got the attention from the Regent of Tabanan, Ni Putu Eka Wiryastuti. According to her, the drought was a common problem that should be addressed. One of them was by asking for guidance to God in order it could rain immediately with the mapag toya ritual. “God is the Creator. It is only to Him we are asking for help. Do not ever stop because God will always hear the people’s prayers,” she convinced.
She hoped that such an activity could also be implemented in all other subdistricts. At the end of the event, the regent along with the farmers of Subak Aseman held joint prayers at the Bedugul Temple of Subak Aseman IV. (BTN/kmb)www.bali-travelnews.com

Rabu, 12 November 2014

19.14

Wayang Pakeliran of Denpasar City Explores Makassar City

Wayang Pakeliran of Denpasar City organized a performance in Makassar City, last weekend. Trans Studio Mall located in the Northern area of Losari Beach, Makassar, posing the venue at that night suddenly became the visitors’ point of interest. They came to witness the arts from the Island of the Gods.
Performance of the collaboration arts with female puppeteer Ayu Putri Suryaningrat was able to hypnotize the audience. With the accompaniment of batel (as using batel gamelan), Ayu Putri successfully delivered the message of the arts to the public of Makassar. Along with 27 supporters, the collaborative art of the shadow puppet was able to show the superiority of Balinese art.
It was revealed by the Secretary of Denpasar Culture Agency, Nyoman Sujati, as the group leader, Monday (Nov 3). “Our presence in Makassar is in relation to meeting the invitation of the Makassar Municipality in welcoming its 407th anniversary,” said Sujati.
At that time, Denpasar as the envoy of Bali got the first chance so that it did not waste time to take action. Starting from setting up the stage such as preparing the screen, supporting properties, lighting and others were made perfectly.
When Ayu Putri Suryaningrat served as a puppeteer, she presented the show entitled Kunti Puja. The story began from the Goddess Kunti who showed her persistence based on a deep sense of love and was trying to keep her baby from the clutches of the Goddess Durga. The difference in the good and bad character among Balinese people known as Rwa Bhineda or basic dualism accidentally featured in accordance with the conditions of the present time. She and other supporters were able to play beautifully and attractively.
Collaboration of the shadow puppet and human puppet was coupled with adequate lighting arrangement. It became a magnet for everyone who watched as well as became a different presentation from the previous ones. Consequently, throughout the show the community of Makassar never stopped to give applause while immortalizing the scene by scene through the shots of photo and video cameras as well as their phones.
Secretary of the Denpasar Culture Agency, Nyoman Sujati, as the group leader was accompanied by Alit Sudibya and Spokesperson Sudiana said that their presence in Makassar was in order to meet the invitation of Makassar Municipality in relation to welcoming the 407th anniversary of the city. “Denpasar City was chosen as the performer considering Denpasar is believed to have many famous cultural attractions,” she said. (BTN/015)www.bali-travelnews.com

Senin, 10 November 2014

05.20

Taman Ayun Temple at Central Badung

As the Royal Family temple of the Raja of Mengwi

Pura Taman Ayun is a beautifully apointed temple, with its own surrounding moat, in the village at Mengwi, Badung Regency, 18 Km. West of Denpasar. The history of this temple is closely associated with the begining of the Rajadom of Mengwi, in 1627 B.C. it was built in 163-1AD. at the time at the rule of the first Raja of Mengwi. I Gusti Agung Ngurah Made Agung, who later become known as Ida Cokorda Sakti Belambangan. As the Royal Family temple of the Raja of Mengwi. This temple is a place to worship the Royal ancestors, who find their rest in a special shrine known as the "Gedong Paibon".www.bali-travelnews.com

05.15

Taksu of Kertagosa fades out

Restoration to the roof of Kertagosa in current technique draws a concern of numerous public figures in Klungkung County. One of them is Ida Bagus Pidada Kaut. Recently, he assessed the techniques applied in maintaining to restoring the roof of Kertagosa had made the taksu or divine vibration of the royal historical heritage faded out, even vanished. This humanist asked the local government to prepare a ritual means for guru piduka (apologetic ritual) and pejati even though the restoration process was still ongoing.
Ida Bagus Pidada Kaut stressed that Kertagosa posed an asset of Klungkung. He agreed to the implementation of restoration. However, he cautioned not to change the design, materials, layout and style or it should be preserved as the original design. It was certainly not easy because such restoration should follow the principles of cultural heritage. So far, his party claimed that humanists in Klungkung County had not been invited to make coordination by relevant agencies, with respect to the restoration of Kertagosa. He was concerned if the restoration process was undertaken in that way, so the original design of Kertagosa would be lost as occurred in the northern compound wall of Kertagosa.
“I do not know whether the restoration by this technique can still maintain the original condition. It is unbelievable, the historic relic like Kertagosa is restored in the current technique,” he said. He warned, anyway Kertagosa was a silent witness to the glory of the past era of Klungkung kingdom. Thus, it was the obligation of local government to maintain and preserve its existence. Other than guru piduka and pejati, he also asked local government to hold caru rishi gana exorcism rite. Anyhow, something that had been restored, especially the royal relic, should be returned to the original condition spiritually by ritual. He worried the taksu of Kertagosa would fade out.
Meanwhile, the Head of Klungkung Culture and Tourism Agency, Wayan Sujana, when contacted on Wednesday (Oct 8) asserted that the roof restoration of Kertagosa claimed to have complied with the restoration standards for historic site as a cultural heritage. Even, his party previously claimed to coordinate with the Klungkung Grand Palace and the BP3 Bali. He also admitted to have offered guru piduka and pejati ritual, where it had become the responsibility of the project contractor before starting the works. Meanwhile, the rishi gana ritual was still under consideration as Kertagosa did not belong to temple category needing such a grandiose ritual. The repair process was also directly inspected by the Regent of Klungkung, Nyoman Suwirta, last Monday.
The regent wanted to make sure if the restoration process had been going on properly as initial plan. Restoration to the roof of Kertagosa was scheduled to have been completed on November 13. At the moment, the completion of Kertagosa Pavilion and Floating Pavilion had reached 60 percent. (gik)www.bali-travelnews.com

Senin, 03 November 2014

02.25

Sapi Gerumbungan: Traditional Cultural Attraction worth Knowing

The Sapi Gerumbungan or cow racing is cultural attraction as well a traditional game of farmers. This cow racing always attracts public attention of Buleleng and travelers. Indeed, it previously has faded out, but now the cow racing is virtually always given an opportunity by the Buleleng government in big events such as the anniversary of the town of Singaraja, the Lake Buyan Festival, the recent Lovina Festival and the Sail Indonesia.
In the Lovina Festival, for example, the cow racing parade was an event receiving special attention from the public in attendance. When the participants moved and made the attraction, dozens of photographers directed their camera to take a unique picture of the running and tastefully decorated cows.
The effort of the government by providing an opportunity for farmers to hold the cow racing was an appropriate measure to save the agrarian art of Buleleng. Without such preservation, it will only leave in a story within a few years to come. Or people will only know the event through the cow racing statue at the intersection of Banyumala, Singaraja, without the real attraction that can be witnessed by children and grandchildren.
Indeed, only few farmers at some villages in Buleleng are still faithfully preserving the cow racing. They are truly loyal farmers becoming Bali cattle keepers and preserver of the famous cow racing tradition in the past. “The cow racing is very appropriate to preserve this cultural attraction owned by farmers,” said a farmer watching the Lovina Festival. Creation of cow racing is inseparable from the bonds of affection and love between farmers as custodian and cows as cattle. The art was created in the simple agricultural realm, but the date of creation was hard to trace back. At that time, the farmers in Buleleng were possessed by an anxiety while waiting for harvest time.
Amidst the anxiety, farmers said prayers in order to get abundant harvest. When obtaining a good harvest, they promised to decorate their cows having been used to plow paddy fields. The cows were decorated like a dancing human being. The cows were given a headdress, neck ornament and okokan or cow bell, leg bracelets and other items to make them look like a dancer while plowing.
In short, the harvest yields of farmer were abundant. Then, the promise to decorate the cows was carried out. People gathered and the decorated cows were used to plow and they were exhibited at subak area. From such activity, farmers then got new ideas to make the attraction of art. In fact, the other farmers were also interested in decorating their cows while plowing in paddy field.
When all the cows were decorated, an idea came to their mind to do a simple competition in paddy field after harvest. Each farmer competed for a pair of cows along with plowing equipment such as neck binder and soil flattener. The element of competition was not only the decoration on the cow’s body, but also the smartness of the cows to dance. From the activity, people had the term ‘the cow head looked up beautifully and the tail looked like durian sprout’ where the cow tail straightened healthily and curved beautifully.
When competed to run, the steps of the cows were trained to generate melodious and rhythmic sound of music. Then, local people got the terms of tabuh pisan or tabuh ro as could be found in the lelambatan gamelan composition. The cow steps were combined with the sound of cow bell mounted on the neck. As a result, it generated coherent sound like music with simple tones.
In the long run, the cow racing evolved to entire subak areas in Buleleng. Famous villages for this kind of cow racing included the Kaliasem, Pedawa, Munduk and the surrounding villages in Banjar subdistrict or Tegal hamlet in the town of Singaraja. Meanwhile, in Eastern Buleleng there were Bebetin, Jagaraga, Menyali, Sawan, Lemukih, Galungan and other nearby villages. For farmers, the cow racing was then symbolized as a memorial to the Rare Angon, a child figure in the Hindu mythology who is always playing in the paddy fields and villages.
In Buleleng, people believe that Banyumala area located in the western edge of the town of Singaraja was the first area used as the arena of cow racing followed by all farmers of Buleleng. On that account, at the intersection of Banyumala, exactly in front of Banyuasri Terminal, was established a quite large cow racing statue that can draw the attention of passersby.http://www.bali-travelnews.com/Art-and-Cultural

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