Mount Agung

Sabtu, Mei 30
Gunung Agung adalah gunung tertinggi di pulau Bali dengan ketinggian 3.142 mdpl. Gunung ini terletak di kecamatan Rendang, Kabupaten Karangasem - Bali.

Gunung Agung adalah gunung berapi tipe stratovolcano, gunung ini memiliki kawah yang sangat besar dan sangat dalam yang kadang-kadang mengeluarkan asap dan uap air. Dari Pura Besakih gunung ini nampak dengan kerucut runcing sempurna, tetapi sebenarnya puncak gunung ini memanjang dan berakhir pada kawah yang melingkar dan lebar.

Dari puncak gunung Agung kita dapat melihat puncak Gunung Rinjani yang berada di pulau Lombok di sebelah timur, meskipun kedua gunung tertutup awan karena kedua puncak gunung tersebut berada di atas awan, kepulauan Nusa Penida di sebelah selatan beserta pantai-pantainya, termasuk pantai Sanur serta gunung dan danau Batur di sebelah barat laut.

Masyarakat Hindu Bali percaya bahwa Gunung Agung adalah tempat bersemayamnya dewa-dewa, dan juga masyarakat mempercayai bahwa digunung ini terdapat istana dewata. Oleh karena itu, masyarakat bali menjadikan tempat ini sebagai tempat kramat yang disucikan.

Gunung Agung
Agung usgs.jpg
Ketinggian 3.124 meter (10.308 kaki)
Garis Lintang 8° 342′ LS
Garis Bujur 115° 508′ BT
Lokasi Bali, Indonesia
Jenis stratovolcano
Letusan terakhir 1964
Listing Ribu


Hindu Religion

The main religion practiced in Bali is a form of Hinduism called Agama Hindu Dharma, where the Hindu it self is consisted of some religious sect, but in Bali all of Balinese are Hindu Ciwa. The two religions (Hindu and Buddhist) arrive from Java and some extend from India during the 8 th to 16 th centuries. The main symbol of Balinese Hinduism is the Swastika or wheel of the sun. An important belief is that elements of nature are influenced by spirit, which has been appeased. As such offerings (Sesajen) made from agriculture product are offered to this spirit. It is believed that Mount Agung is the abode of the gods and the ancestors. As such, it is revered as the `mother` mountain and is highly sacred to the Balinese.

The religion in Bali is according to three principles those are Desa (place), Kala (time) and Patra (circumstance). Five pillars of faith acknowledge Hinduism. They are believe in the one Supreme God (Sang Hyang Whidi Wasa), belief in the soul as the universal principle of life and consciousness (atma), belief in the fruition of one`s deeds ( karma pala ), belief in the process of birth and death (samsara), and belief in ultimate release (moksa). The religious rites of the Balinese consist of the human rites (Manusa Yadnya), the rites of the dead (Pitra Yadnya), rites of the gods or temple rites (Dewa Yadnya), rites of the demonic forces (Buta Yadnya ) and ordainment rites (Rsi Yadnya). Holy water, fire, ash, geese, duck, eggs and dabdab tree leave are purifying elements used in the ritual. The Balinese are extremely devout and no day goes by without making offerings to the gods. These daily offerings - called Banten are a major part of Balinese life. You will see these offerings nearly everywhere in Bali . Made of flowers, cigarettes, cookies, rice and even sometimes money (the actual items used are not as important as the process of making and offering it to the spirits) these offerings are given to the good spirits in hopes of continued prosperity as well as to the evil spirits as an appeasement.

Mebanjar

Banjar is a group of social community that has band of area, activities and social life. The purpose of Banjar is to held each other in line with the social activities like wedding ceremony, people death, take a part of refurbishment of temple, road, cleanliness of the area, security protection and do all the activities together in economic, social and ritual field. The Banjar is lead by Klian Banjar, which is consisted of 50 - 200 family leaders.

Tri Hita Karana

The Balinese Concept is fundamental from the Hindu Religion concept, which is more popular called TRI HITA KARANA where nowadays this concept is becomes the point of the hotel, restaurant and other building assessment in the world. The Balinese Traditional Architecture is not only monumentally, but also has the aspect philosophies and religious. The cosmogony is oneness of three worlds (Tri Bhuana) which is called Bhuhloka, Bhwahloka, and Swahloka. Each of this world (Loka) has habitants it self.

Tri Hita Karana Concept for Life
In addition of this three concepts cosmogony, it is also own contextual with Hindu Religion Concept, which is called Tri Hita Karana (three of the harmony, balance to create the peaceful and happiness). Tri Hita Karana word is come from Sansekerta Language that has meaning to keep the harmony and balance between human to God, human-to-human and human to environment. These three concepts is most popular in Bali spread out as follows:

PARHYANGAN
Parhyangan is one of the three concept related to the god. On this stage, the human is demanded to keep the harmony and balance with god. This concept has huge meaning where the Balinese discipline and full confidence to do this. It is not only including to pray at the temple, however it is cover all the activities which has a good thing in the life like build the temple, cleaning the temple, keep the religion symbols well a lot of thing we can do on this concept.

PAWONGAN
Pawongan in this concept is required to keep the harmony and balance between human to human and this concept has emphasized how to keep good relation with others. The simple ways to execute the implementation of this concept are to conduct three good things like to think the good thing, to speak the good thing and to conduct the good thing. By conducting three good things that is called Tri Kaya Parisuda, it is ensure we can conduct this concept.

PELEMAHAN
Palemahan, this word is come from lemah that is meaning the land or environment. Generally the Pelemahan in Tri Hita Karana is all aspect related to the environment. Base on this concept the Balinese has treated the environment well and they believe that the good environment will give their life better. Once example the Balinese treat the environment that on the Tumpek Uduh based on the Balinese calendar, the Balinese give the offering to the tree with the purpose that the tree has given them prosperity and a lot of thing they can do to keep the harmony and balance with the environment.

Otonan

Month by month has gone by and another year is coming. Time is so significant to humans when he performs action and writes down his story of life. When having arrived at certain point, he may need a short break for an introspection and commemoration of beautiful moment in his lifetime. Yes, it’s commonly known as birthday, an annual celebration of the day on which one was born.

Etymologically, there may have been a common ‘misperception’ here where birthday in the Gregorian calendar should be celebrated on the same day as the word suggests and not the same date (shoul be birth date). On the contrary, otonan in the Balinese (Hindu) tradition is similar thing but of different context. This one is celebrated every 210 days on the same day based on Javano-Balinese wuku year. So, it can be said a real birthday. For example, if one was born on Wednesday (day) Kliwon (five-day week) Dungulan (one of thirty wukus), he will celebrate his otonan on the same day as above.

Another difference between the two is the dating system, particularly on the starting point of new date. If the Gregorian starts at 00:01, the wuku at the sunrise. Sometimes, there is also misunderstanding among some Balinese to determine the day of a baby that was born at dawn, let’s say on Wednesday Kliwon Dungulan at 04:00. Based on Gregorian calendar, the day and date have belonged to the next (Thursday) and will become its ‘birth date’ later. However, its otonan should not follow this calendar system, but as the baby was born at 04:00, it should belong to Wednesday (Buda) based on the wuku system. This misdating may often inflict mistakes in determining his otonan day and its character does not accord with the Hindu astrology. This then needs something like ritual adjustment in Hindu belief to the appropriate day through an exorcism rite as mentioned in palm-leaf manuscript that commonly used as reference like Wrehaspati Kalpa.

Otonan in Balinese tradition is actually a private and comprehensive ritual that only celebrated by the family internally. By certain kinds of oblation, the ritual is intended for one’s inner and outer self along with his kanda empat or four companions that are believed to accompany him since birth to the end of lifetime and even the period after death. They are expressed in personification as amniotic fluid, vernix cascosa, the afterbirth and the blood. In Hindu belief, the names of the four companions will change in keeping with the increasing age of the human self and so are the places where they indwell. The four will loyally keep the self in this world. If ‘spiritual’ communication and empowerment run well among the five, one will never feel fearful wherever he goes and can do healing. As loyal and eternal companions, too, they will accompany the self around the clock. By doing this, they will know every single deed of the self during its interaction with corporeal body. After death, on facing the court of Yama, no facts can be hidden or no lies can be told, as the four companions will deliver the true witness.

In essence, otonan is an immensely important celebration for the Hindus. It constitutes right moment to reorganize, encourage the relationship of human self with the four integrated companions as the otonan contains two dimensional aspects, both sekala (visible) and niskala (invisible). By this, it is also expected to promote harmony between the body with soul and finally reach eternal bliss here and after.

Paintings


The beauty and variety of Balinese paintings have gained the admiration of the tourists. The island boasts major centers of dramatic art such as Batuan, Ubud and Pengosekan. Kamasan, near Klungkung is also the place identical with the traditional form of Balinese paintings.

Previously, the portraits of classic Hindu epics dominated the form of Balinese paintings. During that period, the painting was made on langse or ider-ider. Langse is a wide rectangular cloth, which is used to paint while ider-ider is much narrower. Langse and ider-ider were used to decorate the temples. Wooden boards were also material used to paint in the past.

In the early of 20th Century, western artists contributed tremendous support for the fresh approach in painting. With Ubud as the headquarter, Walter Spies and Rudolph Bonnet promoted painting as an art appearance and donated materials to the local Balinese, who began to paint naturalistic sights reflecting Balinese daily activities and traditions.

Anticipating tourism's negative impact on the quality of art, Ubud artists established the Pita Maha association in 1930s. The association tried to make all artists aware of the need to maintain artistic excellence and to exhibit work outside of Bali.

There are some characteristics of Balinese paintings. Kamasan, as one of the prime center of art, has its own style. East Javanese wayang (puppet) art is reflected on most of the paintings. Now, as the wayang tradition is kept alive, tourists can still discover people who are dedicated to painting in the customary wayang style. One of the pioneer in wayang tradition preservation is I Nyoman Mandra, famous Kamasan artist. Other prime center of art, Batuan, the artists, such as I Wayan Bendi, Ni Wayan Warti and I Made Budi often describes a statement about life in Bali, from traditional village activities to foreigners in Bali. Prior to this generation, Batuan artist such as Ida Bagus Made Togog and Ida Bagus Made Wija express their sense of art through the portrayal of supernatural side of Bali.

Another style, Keliki, has a different type in size. Keliki paintings are only 20 cm by 15 cm in size. Mythical and characters from Ramayana epics dominate the scene of the style.

In the direction of Pengosekan, the paintings are more realistic with natural creatures such as birds, insects and plants featured. The Ubud style is even more expressive but of course, the artists still retain traditional characters. Some of famous Ubud artists are Anak Agung Gede Sobrat, Gusti Ketut Kobot, Made Sukada, Ida Bagus Made and Dewa Putu Bedil.

In these villages, highly praised local artists live and burgeon. One of the most famous Balinese artists is I Gusti Nyoman Lempad (1862-1978), had an extensive range of talents in many media, including painting, sculpture and architecture. With his extraordinary talent, Lempad created masterpieces that gained international recognition.

Even some well-established foreign artists have chosen to make these centers their home. They include Antonio Blanco, Arie Smit, Hans Snel, Le Mayeur and Walter Spice. The existence of them influenced local artists in that area. The use of flamboyant colors gave a more expressive nuance in the paintings created by the next generation Balinese painters such as I Wayan Pugur, I Ketut Tagen, I Nyoman Londo and Ketut Soki.

Textiles

Bali has a rich textile industry. Endek woven is recognized from its abstract pattern and vivid shade. Many industrial units in Gianyar carry out unofficial tours to observe the process in which white threads are passed through a multifaceted dyeing process into configurations of color.

Tenganan, a small village in the eastern part of Bali is fame for its infrequent and sole woven, named Geringsing (without sickness). Balinese considers geringsing, as sanctified textiles and wears it in numerous main ritual ceremonies such as tooth filing and cremation.

In Bali, many imported textiles from Sumatera, Java, Sumba, Flores etc can be easily found around Kuta or Legian.

Stone Carving


Bali is a treasure throve of stone sculptures. The Balinese who is also very skillful at sculpting and engraving stone, especially the archetypal volcanic stone of the island, carry on the eternal tradition of excellent craftsmanship using long-established iconography passed on from one age group to the next.

Most of the temples in Bali, as well as the public buildings, are made of fabulously sculpted stone. Sculpted stone statues (normally sanctified metaphors of the Hindu spiritualities) are used extensively to embellish section of adoration, but can also be found along the lanes, on the angles, in the gardens and in the Balinese homes.

The village of Batubulan is the center of stone carving in Bali. While Celuk, is distinguished by homes and shops producing silver and gold objects such as rings, bracelets, etc lining the roadside.

Another famous village for its admirable metal craft is Kamasan. Now, the village of Kamasan is still the midpoint for Balinese courts arts, producing objects of silver and gold for ritual practice.

Wood Carving


Bali maintains a unique tradition for its highly prized woodcarvings by museums and international collectors. During the monetary crisis, it has given a tremendous contribution to the economic sector.

The artistic production of woodcarvings is varied from mythological and legendary carvings to carvings of natural and biological creatures such as flowers, animals, etc. Balinese woodcarvers are also famous for their creativity in producing antique furniture. Western touch also plays a significant role in the development of woodcarving in Bali, which is now more groundbreaking. Ketut Nongos, I Nyoman Cokot and Ida Bagus Nyana are among famous name of carvers in Bali.

In Bali, wood ornaments can be found in many Bali's public buildings and houses. Scenes of mythical and legendary characters decorate windows, door, and pillars as the objective to prevent evil intruders.

Bali is famed for ornately decorated T (mask), carved soft wood masks painted and adorned with coconut fiber and used in sacred temple ritual play. The village of Mas is best known for its intricate woodcarvings and masks. One example of artistic temple carving is Pura Puseh (Puseh Temple) in Batuan.

Gunung Batukaru

Gunung Batukaru (2200 m ) merupakan gunung tertinggi kedua ke gunung Agung ( 3142 m ). Kata Batukaru diterjemahkan berarti, " The Coconut Shell Rock ". Gunung Batukaru merupakan gunung berapi punah.

Trekking ke puncak Batukaru adalah 6 - 7 jam perjalanan ke puncak, dan 5 jam untuk kembali. Sebuah menengah untuk tingkat tinggi kebugaran diperlukan - itu bisa sangat curam di bagian mendaki. Sebuah perjalanan pulang hari harus dimulai sekitar jam 6 pagi untuk memberikan waktu untuk kembali di siang hari. Atau, malam di atas menginap di KTT di tenda-tenda atau di bawah bintang-bintang dapat membuat perjalanan pengalaman yang lebih menyenangkan. Catatan: berjalan ini tidak dianjurkan untuk anak di bawah 10 tahun.

Apa yang Akan Anda Lihat
Perjalanan ke puncak untuk sebagian besar adalah dinaungi oleh hutan hujan tropis. Jejak sempit dan membukanya. Anda akan naik dari 700 m naik ke 2200 m. Anda akan melewati candi-candi gunung kecil di jalan, yang hanya bisa dimasuki jika Anda mengenakan sabuk seorang.
Catatan: Wanita haid tidak diijinkan untuk memasuki pekarangan kuil.

Di perjalanan Anda akan melihat pohon-pohon raksasa Gambar, Anggrek asli, epifit dan luar biasa Pandanas pohon. Panduan Anda akan memilih makanan asli semak bagi Anda untuk mencoba. Meskipun ini adalah rumah dari rusa kecil ( Kijang ), kucing liar ( musang ) dan Rhesus / Leaf makan monyet -satunya bukti kemungkinan bahwa Anda akan lihat adalah kotoran mereka di jalan. Dari puncak pada hari yang cerah Anda akan melihat kawah Batukaru, danau-danau Bedugul, Lombok, Jawa dan Bali. Anda mungkin menemukan Anda berada di atas awan...

Sourced from : http://www.baliecolodge.com/batukaru.htm

Mount Batur


Mount Batur, located less than an hour from north Bangli, is a mall volcano that still active in this island. Created by an eruption of Mount Batur approximately 30,000 years ago. It sets in the hearth of a huge crater 14 km in diameter and 65 meters deep.

The temple of Pura Danu Batur on the rim is dedicated to the Goddess of the Lake. The lake often becomes shrouded in mist but one can catch breathtakingly stunning views from the many vantage points along the rim. Hot springs at the lake's edge reach temperatures of 57 degrees Celsius while the rest of the lake is somewhat cooler.

As the road rises steadily from Bangli or Tampaksiring, nothing in the surrounding grey landscape of bushes and garden plots suggest the presence of a volcano. But over, one more small ridge a dizzying view awaits the eyes, encompassing the crater and beyond. From Penelokan, the main road runs right round the rim towards Kintamani, the panorama shifting as circling around the crater. Danau Batur is Bali's largest lake and cribbed with the calderas of an active volcano named Gunung Batur.

Rambut Siwi Temple


Rambut Siwi Temple is located on the top of a cliff, overlooking a breathtaking view of paddy fields on one side and the black sandy beach on the other.

This spot is a favorite hangout for painters. The temple itself was built by Dang Hyang Nirartha. Legend has it that he dedicated his hair to the temple. Therefore, the temple is known as Rambut Siwi which literally means ‘hair worship’.

Pulaki


Pulaki Temple is located in Bayupoh Village, about 53km west of Singaraja. It is situated on a hill that is about 25m from the beach. This temple is inhabited by monkeys which are considered as the descendants of Dewa (Gods).

Pulaki Temple is one of the Sad Kahyangan Temples (the main temples) in Bali. There are also Pabena Temple and Pemuteran Temple which is well-known for its hot water nearby

Taman Ayun Temple


Taman Ayun which means beautiful garden, is located in Mengwi Village, 18 km northwest of Denpasar. It was built in 1634 by I Gusti Agung Anom, a founder of the Mengwi Kingdom, and became the main temple for the ancient Mengwi Kingdom. The temple is surrounded by ponds which give the effect from a distance as if the temple is floating on water.

Taman Ayun Temple was renovated in 1937. The grassy area of the outermost courtyard, the fine array of roofs (merus) and pavilions in the inner courtyard, and its well-kept appearance make it one of the most beautiful temples in Bali.

The temple complex consists of three ground areas. In the outermost court is Bale Wantilan which is used for all events, religious ceremonies, dance performances or cock fighting. To the west, there is a decorative fountain called Padma Sana. In the innermost court, surrounded by a small pond, there are 29 buildings which function as places for the gods and goddesses, called Bale Pelik with beautiful carvings, interesting relics and statues of the nine gods, Dewa Nawa Sanga. The whole complex of temple symbolizes the great Mandhara Mountain turning in a sea of milk.

Pura Luhur Watukaru

Luhur Watukaru Temple is located in Wangaya Gede village, approximately 21 km northwest of Tabanan. This temple is one of six sacred temples (Sad Kahyangan) in Bali.

The temple is surrounded by thick foliage and refreshing fresh air. There are old Balinese remains in this temple. Numerous local and foreign visitors visit this temple, especially on its temple festival, which is usually held on Umanis Galungan, one day after Galungan.

Siwaratri

Jumat, Mei 29

Siwaratri is known as “Night of Shiva”, and is celebrated on the dark moon of the seventh based on the Balinese lunar calendar system, a day which usually falls in the month of January. This is an auspicious time for introspection and meditation during which the Hindus of Bali pray for forgiveness of their earthly sins and support and strenght from Shiva in order to reach their higher level.

Balinese believe that on this day, God Shiva, the destroyer, meditate for the welfare for the world, and the God of Shiva will bestow upon every person a pardon for all sin if he accompany the God of Shiva in his meditation by observing some self restriction and meditating on the night of Siwaratri.

Siwaratri starts with an opening ceremony of prayer and offerings which is performed at Kawiten , the family house temple. The premilinary ceremony shoul be finished before day break and it starts at 6.oo am followed by :

  • Monabrata - Silence, no speaking for 12 hours. It is a method to learn one should never speak impulsively but instead carefully weigh one’s words before reacting to one’s experience in life, to always speak fair and honest words, to never lie, slander, speak evil or swear.
  • Upawasa - Fasting, not eating and drinking for a period of 24 hours. This is a method to reach self control by not allowing greed or selfishness.
  • Mejagra - meditation, not sleeping for a period of 36 hours. It is a method to learn to be constantly awake and to be aware of one’s approach to physical life, which should be done with insight and wisdom

The activities of Siwaratri are methods to learn self-conscious at all times and to have self control. When finished, each activity is closed with prayers and offerings at the in house temple.

Saraswati Ceremony

Saraswati Day is celebrated at the very last day of the Balinese Pawukon calendar, being the Saturday of its last week, Watugunung.

Dewi Saraswati is generally referred to as Goddess of 'Science & Knowledge'.

Dewi Saraswati is the female counter-part of the Balinese god Dewa Brahma, the manifestation of the Almighty Infinite Spirit as the Creator.

The materialistic world views that dominate the modern world we live in, have caused considerable mis-interpretations of the religious symbols found in Balinese Hinduism. The main reason for this is a general loss of the ability to think in ‘parallels’, to communicate in symbols and analogies. Instead, modern man tends to interprete most religious symbols literally.

Nowadays the Knowledge/Science symbolized by Saraswati is generally interpreted as pure secular, scientific knowledge; at libraries offerings are made for books and other important written materials, such as the lontar; books and (written) language are seen as the vessels of secular, scientific knowledge. At the schools and universities the students pray for success with their studies. During Saraswati Day it is not allowed to read, which can be compared with our ‘one minute silence’, in honor of the ‘gift’ of books and language which enables mankind to pass on the scientific knowledge that leads to secular success.

In itself these ‘modern’ interpretations do no harm as far as the importance of secular, scientific knowledge for the education and development of the worldy carreer of the individual is concerned.

However the loss of the original interpretation of the religious symbols, their actual meaning, does serious harm to the spiritual development of the Balinese as an individual, and to the spiritual progress of the Balinese as a people. And since the spiritual symbolism is universal, loss of spiritual consciousness concerns not only the Balinese but all of mankind, as individuals as well as a race.

Unfortunately, the true “Knowledge of Saraswati”, the knowledge of the mathematical science that defines the octaves of existence, and which rules and controls the cycles of life of all manifestations (also referred to as sacred geometry), and which enables mankind to be a true Master of his life, is not teached in our schools and universities, nor is it teached by our religious leaders.

Uluwatu


Located at the western most tip of Bukit Peninsula, this temple is one of Bali's Kayangan Jagat Temples. Its location is dramatic, perched on the edge of a high cliff with a picturesque sunset view. The temple is carved from the enormous limestone rock. ‘Ulu’ means head, ‘watu’ means rock, and ‘Luhur’ implies heavenly, ancestral, original and transcendent all at once.

Uluwatu Temple was first used for worship by the holy 11th century priest, Empu Kuturan, who came to Bali to convey religious law and to form Desa Adat (traditional villages).

This temple was then used for worship by the next holy priest, Dang Hyang Nirartha, who came to Bali at the end of 1550 and ended his holy voyage in this area.

Mekori

Mekori Temple is located in Blimbing village, 55km from Denpasar or 32km from Tabanan. This temple consists of many stones hidden in the forest. It does not similar to other temple in Bali, but it is a place where people pray to their God.

Sakenan


Sakenan Temple is built in the 13th century by a holy priest ‘Dang Hyang Dwijendra’ on a small island called Serangan Island near Benoa Harbour and Nusa Dua.

This temple is divided into two parts. Inside the first part, there is a shrine of Cri Cedana or Dewi Sri, the goddess of prosperity and welfare. In the second part of Sakenan Temple, there are shrines for the Prasanak, the relatives of Dewi Sri who come to visit the temple on its anniversary day.

On the holy day of Manis Kuningan, Sakenan Temple commemorates the anniversary of its founder Mpu Kuturan. The festival is held in two days which begins on the last day of Kuningan Wuku and ends on the first day of Langkir Wuku.

Tanah Lot


Tanah Lot, located on the west coast of Bali, in Beraban village in Tabanan regency, is one of the most popular sites in Bali. Tanah Lot means the ancient land as well as the land to the south.

This temple was built in the 15th century by the priest Pedanda Bahu Rawuh or Danghyang Nirartha from Majapahit Kingdom. During his voyage along the south coast he caught sight of a rock island and rested there. Some fishermen noticed him and invited him to stay at their hut. Nirartha refused, saying he preferred to spend the night on the little island. That evening, he talked to the fishermen and advised them to build a shrine on the rock. Nirartha felt it would be a holy and appropriate place to worship God.

Built on a small cape, Tanah Lot is only accessible at low tide. During high tide, the rock appears as a large ship at sea. There are several small and big shrines nearby, the biggest one is Pekendungan Temple. There is a spring considered sacred not far from this temple.

Poisonous snakes inhabit the nearby caves as the guardian of the temple. The perfect time to visit Tanah Lot is at the sunset when the golden red sky surrounds the temple and the wave crashes into the rocks.

Though Tanah Lot is a small sanctuary, it is related to several sea temples on the south coast of Bali: Pura Sakenan, Pura Uluwatu, Pura Rambut Siwi and Pura Petitenget. All these temples are related to the primary mountain sanctuaries: Besakih at Mount Agung, Pura Batur at Batur and Pura Luhur at Mount Batukaru.

Besakih Temple


Besakih Temple, over 900 meters up the slopes of Mount Agung, is the largest and most sacred Hindu temples in the island. It is named after Naga Besukian, the dragon god thought by pre-Hindu Balinese to inhabit Mount Agung, the highest mountain in Bali. Besakih Temple has been regarded as a central, holy temple for the entire island since the Gelgel Dynasty of the 15th century. Today, it is referred by all Balinese as the mother temple of Bali.
Over a thousand years and more, Besakih Temple was extended to the present complex of about 30 temples. There are three main temples within Besakih Temple; Pura Penataran Agung, dedicated to Sang Hyang Widi Wasa. Inside the main courtyard stands the three-seated shrine enthroning the Trisakti, the trinity of Brahma, Visnu and Siwa. During festivals the shrines are wrapped in colored cloth symbolic of the deities.

The other two main temples are Pura Kiduling Kreteg, dedicated to Brahma; and Pura Batu Madeg, dedicated to Wisnu.

For Balinese people, a visit to the temple sanctuaries at Besakih is a special pilgrimage. Each temple has its own anniversary ceremony (Odalan) and on the full moon (Kedasa) the entire compound of Besakih commemorates the visit of the gods with an enormous mass of visiting pilgrims.

Sate (Satay)

Sate is made of sea fish or turtle meat, green coconut, spices, and brown sugar. It is the traditional food of Tabanan regency, but it can be found in all over Bali. Sate is usually cooked over charcoal made from dried coconut shells, on a small ceramic grille, which gives them a delicious smoky and slightly charred flavor.
Sate is served as a dish as well as an offering in ritual ceremony. It is better served right after grilled (while it is still hot) and usually served with Lawar. It can last for only one day.

Omed - Omedan

So many people, young and old, men and women, natives and foreigners came in flocks to see a unique ritual in Banjar Kaja, Sesetan village, South Denpasar, a day after Nyepi. The old men from Banjar Kaja sprinkle the road. A moment later, while the members of sekaa teruna teruni Satya Dharma Kerti (youth organization; in Banjar Kaja, its youth organization is named Satya Dharma Kerti) was praying, a Barong dance was held. After the praying and dancing session was over, the core of this ritual came.

The teenagers came out to the road. The boys were in left and the girls were in right. They were wetted by the adult ones. Balinese gambelan (traditional instrument) were played. The boys chose one of their members, so did the girls. Those chosen people were pushed by the others. “Omed-omedan” was started.

They pushed his and her waist. Gambelan player played another tune, more and more beat. They pushed their own member until the chosen ones met in the middle of the road, and both of the chosen embraced and kissed each other. However, the girls were so shy to do this ritual in public that the girls sometimes avoid the embraces and kisses. It was a totally different story for the boys. They were always excited to embrace and kiss the girls. Moreover, there was a boy took a minute longer to do that. For that reason the old men sprinkled them with so much water. Then the chosen were pulled back to their position by the others. Those push and pull were done for several times with different chosen people.

Attractive chosen people attracted more audiences to scream and push the others audiences because they want to see from closer distance The audiences which passed the border were also sprinkled. Whoop….so wet!

Another information if you want to come to see this tradition is do not forget to protect your camera and others electronic things. Who knows yours will be sprinkled too.


Barong Landung

Barong Landung is different from other Barong dances in Bali. In Barong Landung, the two dancers do not take the figure of animals, but of the two giant puppets, a male and a female. (Landung means tall).

The male giant barong is called Jero Gede (big person) and the female giant barong is called Jero Luh (female person). Each barong is played by a man. Jero Gede has a frightening black face, while Jero Luh has a comical white or yellow face. Together they perform a comic, opera sung in Balinese, with a story usually taken from history.

Barong Landung is derived from the folktale. On Nusa Penida Island, once lived an incestuous giant demon, Jero Gede Mecaling. One day, he went to Bali Island, followed by a horde of devils. He landed in South Bali in the form of a barong and waited there while the devils went inland to destroy. The people frightened and consulted a priest who told them to create another barong like Jero Gede Mecaling to scare away the demon. The people then made a big barong and succeeded in frightening the giant demon back to Nusa Penida. Since then, the barong has been used to exorcise illness and evil spirits.

Barong Landung is usually performed on Galungan days, around Denpasar and Serangan Island. In Southern Bali, Barong Landung is accompanied by smaller puppets which play the roles of prince and princess.

Oleg Tambulilingan Dance

Oleg Tambulilingan Dance was created by I Mario of Tabanan in 1952. The dance was originally performed by one girl and called Oleg which means the swaying of a dancer. Later, a male part was added to make it a duet, and the dance had a new theme portraying two bumblebees (Tambulilingan) flirting in a flower garden.

The female dancer enters the stage first, circling the stage in tight quick steps, trailing a long silk scarf. The dancer portrays the full range of female emotions: seductiveness, scorn, teasing, moodiness, naughtiness, happy. The female dancer first pretends to snub the male, but he is finally able to win her love by various tactics.

In one sequence, the female dancer dances in the seated position while she sensuously sways and waves her hands. The male dancer circles her with a manly pace, his head cocked, feeling his power over her. They come close, only to swirl apart again. Oleg Tambulilingan dance ends with a love dance of the two bumblebees.

Sanghyang Jaran Dance

Sanghyang Jaran dance is performed by a man dancer who tramples on flaming coals riding a hobby horse made out of palm leaves. The red hot coals are scattered, and the dancer trances like a horse, snorting and neighing, seemingly unscathed by his torment.

The dance is believed to have the power to invite the gods or sacred spirits to enter the body of the dancers and put them in a state of trance. It dates back to the ancient Pre-Hindu culture, a time when Balinese people strongly believed that a dance could cure sickness and disease. Sanghyang Jaran dance is usually performed in the fifth or sixth month of Balinese calendar as it is believed that during these months, Balinese people are vulnerable to all kinds of illnesses.

Calon Arang Dance


Calon Arang Dance refers to the struggle between Rangda (Calon Arang) and the great king Airlangga. Calon Arang was a widow of Girah who gave birth to a daughter in the jungle. Her daughter grew up to be the famed beauty Ratna Menggali. Calon Arang wanted her daughter to marry a prince from Airlangga's palace. However, no prince came along. Infuriated by this, Calon Arang learned the art of black magic and practiced it against the kingdom, causing many people to die.

When the king Airlangga heard of the epidemic in Girah, he consulted his high priest, Mpu Bharadah. The priest then sent his son to propose Ratna Menggali. Calon Arang was pleased, the curse ended, and the couple wed.

Calon Arang inscribed her black magic secret on a lontar (palmleaf book). One day, her son-in-law found it and gave it to his father. When Calon Arang found out that Mpu Bharadah had learned her secrets, she was furious and declared war upon him. The priest had no choice but to fight and, in a deadly struggle, destroyed the widow by casting a spell. Before she died, Calon Arang asked forgiveness. Mpu Bharadah forgave her and showed her the way to heaven.

Before Calon Arang Dance is performed by midnight, the audiences are gathered, listening to the Calon Arang music, played by a full legong orchestra amplified with large bamboo flutes. Offerings are made earlier and consultations are held so as not to offend Rangda (Calon Arang) and to determine whether it is safe to perform the dance which begins after midnight and lasts until dawn.

Nasi Kuning Bali (Balinese Yellow Rice)

Nasi Kuning
Nasi Kuning Bali is a bit different from the common Nasi Kuning, especially from the spices and preparation. Nasi Kuning is usually served during Kuningan Day, the Balinese Hindhu Holy Day which comes every 210 days on Saniscara (Saturday) Kliwon Wuku Kuningan.
Nowadays, Nasi Kuning is also served in other ceremonies such as birthday party, thanksgiving ceremony, etc. Nasi Kuning is served with fried chili spices, kemangi leaf, and green-peas. It is not available in Balinese restaurants. Balinese people usually prepare it only for ceremonies.

Urutan Babi

Urutan Babi
Urutan Babi

Urutan is Balinese sausage. It is made of pig’s intestines, stuffed with pork meat and spice paste inside, and fried until it is brownish. Urutan is usually served with Balinese rice wine.

Ayam Betutu (Roasted Chicken in Banana Leaf)

Ayam Betutu
Ayam Betutu (Roasted Chicken in Banana Leaf) Ayam Betutu is made of chicken with spices inside. The spices consist of turmeric, ginger, kencur, galangal, onion, garlic, salam leaf, and chilies. All these spices are mixed and put inside the chicken. That is why it is called Ayam Betutu.
Ayam Betutu is usually served in Balinese traditional ceremonies such as Odalan, Otonan, wedding ceremony, etc.

Babi Guling

Babi Guling
Babi Guling Babi Guling is more well-known as ‘be guling’ in Bali. Actually, be guling can be made of other meats such as duck or chicken. Babi Guling is a kind of dish made of a whole suckling pig. It is cooked by taking out its whole bowel and stuffed the inside with spice paste and vegetables such as cassava leaf, then grilled and rolled over a charcoal made from dried coconut shells until it is well-done.
Babi Guling was originally made as a ritual offering in Balinese traditional ceremonies as well as religious ceremonies. But nowadays, it can be found in many restaurants and certain hotels in Bali area. The most well-known Babi Guling is from Gianyar regency.

Lawar

Lawar is Balinese traditional food, well-known in all over Bali and available in many Balinese restaurants. Lawar is mixed vegetable with chopped meat, vegetable, spices, and coconut which tastes is sharpened with natural flavors.
There are various Lawar based on the materials for composing the cooking, such as Red Lawar, and White Lawar which is a large part made of coconut meat, and other is vegetable and meat. The vegetables which can be cooked into lawar normally are young bean fruit and jackfruit. Pork lawar is made of pork meat while Jackfruit Lawar is made of jackfruit. There is also Padamare Lawar, made of many kinds of Lawar.
Lawar is usually served with rice and other dishes. Lawar is the most favorite cooking during religious ceremony, family rituals or any family occasion. If there is a ceremony or any event of Bali tradition, Lawar is the first plan in cooking activity.

Ngaben


Ngaben, or Cremation Ceremony, is the ritual performed in Bali to send the deceased to the next life. The body of the deceased will be placed as if sleeping, and the family will continue to treat the deceased as sleeping. No tears are shed, because the deceased is only temporarily not present and will reincarnate or find his final rest in Moksha (freeing from the reincarnation and death cycle).

The proper day of the ceremony is always a matter of consulting a specialist on ceremony days. On the day of the ceremony, the body of the deceased is placed inside a coffin. This coffin is placed inside a sarcophagus resembling a buffalo (Lembu) or in a temple structure (Wadah) made of paper and wood. The buffalo or temple structure will be carried to the cremation site in a procession. The procession is not walking in a straight line. This is to confuse bad spirits and keep them away from the deceased.

The climax of Ngaben is the burning of the whole structure, together with the body of the deceased. The fire is necessary to free the spirit from the body and enable reincarnation.

Ngaben is not always immediately performed. For higher caste members it is normal to perform the ritual within 3 days. For lower caste members the deceased are buried first and later, often in a group ceremony for the whole village, cremated.

Ngaben or the Cremation Ceremony is the ritual performed to send the dead through the transition to his next life. The village Kul Kul, hanging in the tower of the village temple, will sound a certain beat to announce the departure of the deceased. The body of the deceased will be placed at Bale Delod, as if he were sleeping, and the family will continue to treat him as if he were still alive yet sleeping. No tears are shed, for he is only gone temporarily and he will reincarnate into the family.

The Priest consults the Dewasa to determine the proper day for the ceremony. On the day of the ceremony, the body of the deceased is placed inside a coffin which is then placed inside a sarcophagus in the form of a buffalo (called Lembu) or a temple structure called Wadah made of paper and light wood. The Wadah will be carried to the village cremation site in a procession.

The climax of Ngaben is the burning of the Wadah, using fire originating from a holy source. The deceased is sent to his afterlife, to be reincarnated in the future.

Ogoh - ogoh

Kamis, Mei 28

Ogoh-ogoh are statues built for the Ngrupuk parade, which takes place on the eve of Nyepi day in Bali, Indonesia. Ogoh-ogoh normally have form of mythological beings, mostly demons. As with many creative endeavours based on Balinese Hinduism, the creation of Ogoh-ogoh represents spiritual aims inspired by Hindu philosophy.

The main purpose of the making of Ogoh-ogoh is the purification of the natural environment of any spiritual pollutants emitted from the activities of living beings (especially humans). The forms of Ogoh-ogoh represent the Bhuta-Kala (Bhuta: eternal energy, Kala: eternal time), according to Hindu teachings. The imperceptible potentials of nature cannot be thoroughly explored by anyone. Philosophically, civilized men are required to manage the natural resources without any attempts to damage the environment itself.

Aside from being the symbol of Bhuta-Kala, Ogoh-ogoh is considered a symbol of modes of nature that form the malicious characters of living beings. Ogoh-ogoh is usually made by the group of artists found in villages around Bali. After being paraded on a convoy around the town, finally it is burnt to ashes in a cemetery as a symbol of self-purification.

Perang Pandan


The humanity of a society is not just measured by how people treat their friends but how they care for their enemies. But what happens when the lines distinguishing friends from enemies are blurred by cultural dictates? Are bonds of kinship strong enough when tested? These questions are posited in a ritual called perang pandan of the Bali Aga people in Tenganan where males of age of reason, from children as young as seven to men as old as seventy, engage in a bloody duel, every year.

Literally meaning “pandan war”, perang pandan is a man-to-man, or child-to-child battle using a thorny pandan (wild screwpine) leaves bunched into a club, with only a peresai or woven bamboo (?) shield as protection. There are no declaration of winners or losers and one can participate in as many duels as permitted by a council of adults who themselves participate in the rites.

Human as men are, the fights can get heated, resulting to lots of blood and bad temper but somehow after all the lashing and whipping, participants are put into place and acrimony is left on stage. Smiles and embraces are exchanged. Manhood is tested. Civilization survives.

Cendrawasih Dance

Cendrawasih is a beautiful bird that has lovely brown and yellow feathers. This Cendrawasih dance has meaning that we have to preserve and protect scarce fauna in order not to be extinct, and its population remain maintain. This dance also describes liveliness of cendrawasih bird eager to play, chasing, in its community.
This dance is creation of one famous Balinese(Indonesia) lady known as N.L.N. Swasthi Wijaya Badem for festival held by Walter Spies Organization in 1988.

Legong Keraton Dance


In legends, Legong is the heavenly dance of divine nymphs. Of all classical Balinese dances, it remains the quintessence of femininity and grace. Girls from the age of five aspire to be selected to represent the community as Legong dancers.

Connoisseurs hold the dance in highest esteem and spend hours discussing the merits of various Legong groups. The most popular of Legongs is the Legong Kraton, Legong of the palace. Formerly, the dance was patronized by local rajas and held in e puri, residence of the royal family of the village. Dancers were recruited from the aptest and prettiest children. Today, the trained dancers arestill- very young; a girl of fourteen approaches the age of retirement as a Legong performer.

The highly stylized Legong Kraton enacts a drama of a most purified and abstract kind. The story is performed ' by three dancers: the condong, a female attendant of the court, and two identically dressed legongs (dancers),who adopt the roles of royal persons. Originally, a storyteller sat with the orchestra and chanted the narrative, but even this has been refined away in many Legongs. Only the suggestive themes of the magnificent gamelan gong (the full Balinese orchestra) and the minds of the audience conjure up imaginary changes of scene in the underlying play of Legong Kraton.

The story derives from the history of East Java in the 1 2th and 1 3th centuries: when on a journey the King of Lasem finds the maiden Rangkesari lost in the forest. He takes her home and locks her in a house of stone. Rangkesari's brother, the Prince of Daha, learns of her captivity and threatens war unless she is set free.

Rangkesari begs her captor to avoid war by giving her liberty, but the king prefers to fight. On his way to battle, he is met by a bird of ill omen that predicts his death. In the fight that ensues he is killed. The dance dramatizes the farewells of the King of Laserm as he departs for the battlefield and his ominous encounter with the bird. It opens with an introductory solo by the condong. She moves with infinite suppleness, dipping to the ground and rising in one unbroken motion, hertorso poised in an arch with elbows and head held high, while fingers dance circles around her wrists. Slowly, her eyes focus on two fans laid before her and, taking them, she turns to meet the arrival of the legongs.

The tiny dancers glitter and dazzle. Bound from head to foot in gold brocade, it is a wonder the legongs can move with such fervent agitation. Yet, the tight composure of the body, balanced by dynamic directive gestures-the flash of an eye, the tremble of two fingers blend in unerring precision.After as hort dance, the condong retires, leaving the legongs to pantomime the story within the dance. Like a controlled line of an exquisite drawl ing, the dancers flowfrom one identity intothel next without disrupting the harmony of t dance. They may enter as the double image one' character, their movements marked tight synchronization and rhythmical verve Then they may split, each enacting a separate role, and come together in complementary halves to form a unified pattern, as in the plan ful love scene in which they "rub noses The King of Lasem bids farewell to his queen, and takes leave of Rangkesari. She repels his advances by beating him with he fananddepartsin anger. lt is then the condong reappears as a bird with wild eyes fixed upon the king. Beating its golden wings to a strange flutter of cymbals, it attacks the king in a vain attempt to dissuade him from war. The ancient narrative relates: ". .. a black bird came flying out of the northeast and swooped down upor the king, who saw it and said, 'Raven, hoi come you to swoop down on me? In spiteo; all, 1 shall go out and fight. This 1 shall do, oh raven!... With the king's decision understood the dance may end; or the other legong may return on stage as his prime minister, and shimmering unison, they whirl thefinal stepsi: war.

Pendet Dance


Pendet is a traditional Balinese dance, in which offerings are made to purify the temple or theater as a prelude to ceremonies or other dances. Pendet is typically performed by young girls, carrying bowls of flower petals, handfuls of which are cast into the air at various times in the dance. Pendet can be thought of as a dance of greeting, to welcome the audience and invite spirits to enjoy a performance.

Pendet is the presentation of an offering in theform of a ritual dance. Unlike the exhibition dances that demand arduous training, Pendet may be danced by everyone: male and female pemangkus, women and girls of the village. It is taught simply by imitation and is seldom practiced in the banjars. Younger girls follow the movements of the elder women who recognize their responsibility in setting a good example. Proficiency comes with age, and often, t is the grandmothers who possess the most Man of the grouli. As a religious daqce, Pendet is usually performed during temple ceremonies.

All dancers carry in their right hand a small offering of incense, cakes, water vessels, or flower formations set in palm leaf With these they dance from shrine to shrine within the temple. Pendet, thus, may be performed as a serial and continue intermittently throughoin,the day and late into the night during temple feasts.

In 1968, a huge religious procession in Tabanan produced many versions of Pendet. One was danced by a member of the household, who presented the family's offerings in a slow Pendet before the approaching wave of thousands of people. In larger villages, a selected group of young girls, bare-shouldered and formally dressed in wraps of gold cloth, carried silver bowls of flowers as they danced a more elaborate Pendet, choreographed in interweaving rows and files. When the procession settled before a small temple, old women dressed in ordinary clothes began to dance still another form of Pendet. They carried no offerings but moved feverishly as if possessed by the music.

Recently , Pendet was introduced to open the Legong. Here, the young girls are accomplished members of a dance troupe, and their movements are coordinated and exact. Toward the finish of the dance, the girls make praying gestures and throw flowers to the audience-a welcome and blessing to the public.


Magoak - goakan


The world of play is not only enjoyed by children – adults also enjoy games, even a king. There was once a king from buleleng called Ki Panji Sakti who was known to be a mighty monarch. He enjoyed a game called “ Magoak-goakan”, a traditional game from northern Bali.

In this game, several people line up to form the shape of a snake while one other persons is the “Goak” (Crow) whose aim is to touch the snake’s tail. So the members of the snake team (especially the person at the head) must prevent the crow from touching their tail (the person at the end). If the crow succends in cachting the snake’s tail, the game ends.

It was said that Ki Panji Sakti used this game of ‘Magoak-goakan’ to persuade his troops to go to war! Later in 1985, the game was transformed into a dance bi I Dewa Supartha Dharma and has continued to develop into many versions.

Scissors, Rock and Paper


The game of scissors, rock and paper is a popular around the world. Clenching your hand in a firt means rock, an poen hand means paper and 2 fingers means scissors. When 2 people play this game, each will show their hand in one of these three forms, one of which will win over the other. Rock wins againts scissors,which wins againts paper, which beats rock.

In Bali tnis game is also popular. But in the past there was smiliar game of monkey, ant and elephant known as “Sut”. Instead of using our whole hand, we just used our fingers. The forefinger is for monkey, the thumb for elephant and the little finger for ant. When 2 people are playing, they each stick out one of these fingers ; monkey (forefinger) wins againts ant (little finger) because it can easily kill ant with its finger, an elephant beats a monkey by stepping on it, and an ant can easily go inside an elephant’s ear and cause such havoc that the elephant can’t bare the pain and collapses.

Dramatari Arja

Art performances in Bali are a media that can deliver messages and information to the community. This we can see from the sort of performance that entertains us, especially performances that has a dramatic story. The information and messages can be delivered to the audience in the dialogs between the dancers, along with the messages of the story. One of the famous drama dances in Bali is the Arja Drama dance (Dramatari Arja).

The Arja is a drama dance where the dialogs are sung. The word arja is though to come from the world “Reja’ (comes from the Sanskrit Languange), which means beautiful ar contains beautiful ness, is reckoned to apper in 1825. the source of the main story of the Arja drama dance come from panji, folktales, Mahabhrata, Ramayana and group of other stories that are well known ro the community. The Arja always brings you the characters of ; Inya, Galuh, Desak Rai, Limbur, Liku, Penasar, Mantri Manis, Mantri Buduh, and the two royal servants Punta and Kartala. In the Arja drama dance, the Gamelan orchestra that is normally used is the Geguntangan, which has sweet and gentle sound to increase the beauty ness of the songs that are sang by the dancers.

Ciwa Nataraja


In hindu myhtology, Siwa Nataraja is a form of the God Siwa, who is known as the king of dance. As the highest dancer. Siwa dances continuously to maintain rhythm and balance in the cosmos. The movements in this dancing are so powerful that it creates and combines this world realm.

The form of Siwa Nataraja has been transformed into a dance by N.LN Swasthi Widjaja Bandem. It is danced by nine female dancers, one of whom portrays Siwa Nataraja while the other eight represent the eight magical powers of Siwa. Incoporating elements, it is now an important dance of indonesia Arts School (STSI) Denpasar.

The Puspanjali Dance


“A Guest is a King” is a common saying meaning that we respect people who come to visit is. We say it to remind ourselves to always be polite and foster a good realitionship with guests. There are many ways that we can give a good impression to guest : through friendly greetings. Offering meals, or even putting an a dance performance. And one particularly apprppriate dance for entertaining guest is the Puspanjali Dance.

The Puspanjali Dance is often performed to greet guest and open formal functions. Puspa means flower, and anjali means honouring, so the Puspanjali dance is a form of honouring, symbolized with a flower and performed with soft, swift, dynamic movements. The Puspanjali is dance by female,up to 5 or 7 people. It was created in 1989 by N.LN Swasthi Widjaja Bandem, inspired by the Rejang Dance, a ceremonial dance performed to honor the Gods.

Nyepi Day

Rabu, Mei 27

Every religion or culture all over the world has their own way to define and celebrate their new year. For example, the Chinese have the Imlek year and to celebrate it, have, as they called it in their own language, "Gong Xi Fat Choy". The Moslem societies have their Muharam year, and any of the people over the world using the Gregorian calendar, celebrate the New Year on January 1st.

The same thing also occurs in Bali, however the Balinese use many different calendar systems. They have adopted the Gregorian calendar for business and government purposes. But for the endless procession of holy days, temple anniversaries, celebrations, sacred dances, building houses, wedding ceremonies, death and cremation processes and other activities that define Balinese life, they have two calendar systems. The first is the Pawukon (from the word Wuku which means week) and Sasih (which is means month). Wuku consists of 30 items starting from Sinta, the first Wuku and end up with the Watugunung the last one. The Pawukon, a 210-day ritual calendar brought over from Java in the 14th century, is a complex cycle of numerological conjunctions that provides the basic schedule for ritual activities on Bali. Sasih, a parallel system of Indian origin, is a twelve month lunar calendar that starts with the vernal equinox and is equally important in determining when to pay respect to the Gods.

Westerners open the New Year in revelry, however, in contrast, the Balinese open their New Year in silence. This is called Nyepi Day, the Balinese day of Silence, which falls on the day following the dark moon of the spring equinox, and opens a new year of the Saka Hindu era which began in 78 A.D.

Nyepi is a day to make and keep the balance of nature. It is based on the story of when King Kaniska I of India was chosen in 78 A.D. The King was famous for his wisdom and tolerance for the Hinduism and Buddhism societies. In that age, Aji Saka did Dharma Yatra (the missionary tour to promote and spread Hinduism) to Indonesia and introduce the Saka year.

The lead upto Nyepi day is as follows:

Melasti or Mekiyis or Melis (three days before Nyepi)
Melasti is meant to clean the pratima or arca or pralingga (statue), with symbols that help to concentrate the mind in order to become closer to God. The ceremony is aimed to clean all nature and its content, and also to take the Amerta (the source for eternal life) from the ocean or other water resources (ie lake, river, etc). Three days before Nyepi, all the effigies of the Gods from all the village temples are taken to the river in long and colourful ceremonies. There, they have are bathed by the Neptune of the Balinese Lord, the God Baruna, before being taken back home to their shrines.

Tawur Kesanga (the day before Nyepi)
Exactly one day before Nyepi, all villages in Bali hold a large exorcism ceremony at the main village cross road, the meeting place of demons. They usually make Ogoh-ogoh (the fantastic monsters or evil spirits or the Butha Kala made of bamboo) for carnival purposes. The Ogoh-ogoh monsters symbolize the evil spirits surrounding our environment which have to be got rid of from our lives . The carnivals themselves are held all over Bali following sunset. Bleganjur, a Balinese gamelan music accompanies the procession. Some are giants taken from classical Balinese lore. All have fangs, bulging eyes and scary hair and are illuminated by torches.The procession is usually organised by the Seka Teruna, the youth organisation of Banjar. When Ogoh-ogoh is being played by the Seka Teruna, everyone enjoys the carnival. In order to make a harmonic relation between human being and God, human and human, and human and their environments, Tawur Kesanga is performed in every level of society, from the people's house. In the evening, the Hindus celebrating Ngerupuk, start making noises and light burning torches and set fire to the Ogoh-ogoh in order to get the Bhuta Kala, evil spirits, out of our lives.

Nyepi
On Nyepi day itself, every street is quiet - there are nobody doing their normal daily activities. There is usually Pecalangs (traditional Balinese security man) who controls and checks for street security. Pecalang wear a black uniform and a Udeng or Destar (a Balinese traditional "hat" that is usually used in ceremony). The Pecalangs main task is not only to control the security of the street but also to stop any activities that disturb Nyepi. No traffic is allowed, not only cars but also people, who have to stay in their own houses. Light is kept to a minimum or not at all, the radio or TV is turned down and, of course, no one works. Even love making, this ultimate activity of all leisure times, is not supposed to take place, nor even attempted. The whole day is simply filled with the barking of a few dogs, the shrill of insect and is a simple long quiet day in the calendar of this otherwise hectic island. On Nyepi the world expected to be clean and everything starts anew, with Man showing his symbolic control over himself and the "force" of the World, hence the mandatory religious control.

Ngembak Geni (the day after Nyepi)
Ngembak is the day when Catur Berata Penyepian is over and Hindus societies usually visit to forgive each other and doing the Dharma Canthi. Dharma Canthi are activities of reading Sloka, Kekidung, Kekawin, etc.(ancient scripts containing songs and lyrics).

From the religious and philosophy point of view, Nyepi is meant to be a day of self introspection to decide on values, eg humanity, love, patience, kindness, etc., that should kept forever. Balinese Hindus have many kind of celebrations (some sacred days) but Nyepi is, perhaps the most important of the island's religious days and the prohibitions are taken seriously, particularly in villages outside of Bali's southern tourist belt. Hotels are exempt from Nyepi's rigorous practices but streets outside will be closed to both pedestrians and vehicles (except for airport shuttles or emergency vehicles) and village wardens (Pecalang) will be posted to keep people off the beach. So wherever you happen to be staying on Nyepi Day in Bali, this will be a good day to spend indoors. Indeed Nyepi day has made Bali a unique island.