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The Bali Arts Festival is a full month of daily performances, handicraft exhibitions and other related cultural and commercial activities during which literally the whole of Bali comes to the city to present its offerings of dance, music and beauty. On display are trances from remote mountain slopes, forgotten or recently revived village dances, food and offering contests, classical palace dances, stars of Balinese stage, odd musical performances, “kreasi baru” (new creations) from the dance schools of Denpasar, as well as contemporary choreography and dance companies from other islands and from abroad.
It is a month long revelry that perhaps no other place in the world can put up on such a low budget as the Balinese. Not only is their traditional culture alive and well, but they have a tremendous pride in it.
It begins in the villages, where the seka or cultural groups are selected and organized at the regency level, vie with each other to perform the Arts Festival and thus display in front of a large audience the uniqueness of their village of birth and resting place of their ancestors.
The Bali Arts Festival is the Denpasar cultural event of the year, perhaps it would no be too far fetched to suggest that it is the cultural event of Indonesia. The festival is thus a unique opportunity to see local village culture both “live” and at first hand. Tourists are warmly welcomed.
The History of the Bali Arts Festival
When tourism took off after 1965, the Balinese insisted that it followed cultural guidelines: if tourism was to be accepted, it was to be a cultural tourism, or “pariwisata budaya”.
As the Balinese put it: “Tourism should be for Bali instead of Bali for tourism.” In time, this idea become national policy, as part of a larger revping of regional cultures for national purposes. The policy owes much to the former Director General of Culture (1968-1978) and Governor of Bali (1978-1988), Ida Bagus Mantra, an Indian-educed Balinese. It led, on the one side, to the creation of enclave resorts such as Nusa Dua to limit the direct impact of tourism, and on the other, to a long haul cultural policy aimed at nurturing and preserving the traditional agrarian culture while adapting it to the demands of modernity, and in particular of “cultural tourism”.
At the village level, local music groups, dances and other cultural events were inventoried, then supported by a series of contests at the district and regency level. The ensuing competition energized the cultural life of villages, whose “young blood” was already being drained to the city by the process of economic change and urbanization.
Schools of dance and art were created, in particular the Kokar conservatory and the STSI School of Dance and Music. Beside research, these schools replaced the traditional master/disciple relationship by modern methods of teaching; standardized the dance movements, produced new types of Balinese dances for tourism and modern village entertainment. Most important, it enabled former students to return to the villages as teachers, where they diffused, beside the creed of cultural resilience and renewal, new dances and standardized versions of old ones.
Many of the performances are held at the amphitheater which can hold up to 6,000 spectators, in a temple-like stage.
Each year, the Bali Arts Festival, beside the fed classical dances of the island, such as the legong, gambuh, kecak, barong, baris, mask dances and the like, is based on the theme around which new “dance choreography” is produced and old village dances and activities revived. Over the years, the whole range of classical Balinese stories - Ramayana, Mahabharata, Sutasoma, Panji - have thus been turned into “colossal” Sendratari Ballets.
The main challenge to the Arts Festival is obviously economic in nature. As village life is increasingly feeling the strains of monetary considerations, dancers, musicians and others cannot be expected to continue participating simply for the sake and the pleasure of it. As costs soar, new sources of financing have to be found. The obvious answer is the private sector and in particular the tourism industry. The greater task then is to convince the hotels, travel agencies and tourist guides to be more participatory in the Arts Festival rather than to their own sponsored events.
Considering the pride the Balinese have in their culture, and the adaptability and dynism they have always demonstrated, this little hurdle can be overcome. Trust the Balinese. They will eventually succeed to transform their tradition into a modern, Balinese culture of their own.
Goa Gajah, literally means ‘Elephant Cave”. Although named by ‘elephant’ it doesn’t mean there is any real elephant live or ever live here. The name Goa Gajah derived from ‘Lawa Gajah’, which is mentioned in the manuscripts that found in this site. This temple complex was built for the first time around 11 century based on epigraph found in this site.
A seven-meters deep cave with a shape of T-letter is the major attraction of this Bedulu village’s local temple. The cave it self is carved in a solid stone hill of the river valley. The main figure of the carving at the cave entrance is ‘boma’, a barong face, accompanied with big clapping fingers on its side. Leaf, flower, and some horror figures can be noticed if we give more attention look to the rest of the carving. Some holes that are considered to be used as meditation or sleeping quarters can be found in the wall of the cave.
Nowadays, those holes are used to place offerings whenever there is ceremonies taking place. On the left end side of the cave is Ganesha statue, believe it as ‘the God of knowledge’. Meanwhile on the right end side can be found three ‘linggas’, that each of them dedicated to the three common God manifestations in Bali, Brahma, Wisnu, and Siwa. There are other three stone carvings in the centre wall, one of them figuring head and face.
Three other statues of Ganesha, demons and Men Brayut, a legendary lady with her beloved children, are placed on a high building located on the left side of cave entrance. It is considered that these statues are 1000 years old. In the middle of the complex, in front of the cave, there is bathing place that is not any longer used by the local people.
The angle figures within the bathing complex are about similar to common figures found in India. On the south part of the complex, there are along flight of step leads down the lower part of the valley. After crossing a bridge above a small creek and follow another flight of steps up to eastern side of the valley, a headless sitting Buddha statue can be seen. This is the evident of a close relationship between the two religions.
Pura Luhur Uluwatu is one of Bali’s kayangan jagat (directional temples) and guards Bali from evil spirits from the SW, in which dwell major deities, in Uluwatu’s case; Bhatara Rudra, God of the elements and of cosmic force majeures. Bali’s most spectacular temples located high on a cliff top at the edge of a plateau 250 feet above the waves of the Indian Ocean.
Uluwatu lies at the southern tip of Bali in Badung Regency. Dedicated to the spirits of the sea, the famous Pura Luhur Uluwatu temple is an architectural wonder in black coral rock, beautifully designed with spectacular views. This is a popular place to enjoy the sunset. Famous not only for its unique position, Uluwatu also boasts one of the oldest temples in Bali, Pura Uluwatu.
Most of Bali’s regencies have Pura Luhur (literally high temples or ascension temples) which become the focus for massive pilgrimages during three or five day odalan anniversaries. The photogenic Tanah Lot and the Bat Cave temple, Goa Lawah, is also Pura Luhur. Not all Pura Luhur are on the coast, however but all have inspiring locations, overlooking large bodies of water.
Pura Uluwatu is located on the cliff top close to the famous surf break on the SW of the Bukit peninsula. Empu Kuturan, a Javanese Hindu priest who built the tiered meru, founded the temple in the 10th century and a shrine here as well as at other key locations longs the Balinese coast. In the 15th Century the great pilgrim priest Dhang Hyang Dwijendra, who established the present form of Hindu-Dharma religion, chose Pura Uluwatu as his last earthly abode: history records that Dwijendra achieved moksa (oneness with the godhead, in a flash of blazing light) while meditating at Uluwatu.
The temple is regarded, by Brahman’s island wide, as his holy ‘tomb’. Legend also tells us that Dwijendra was the architect of the beautiful temple, as well as many other major temples on Bali, Lombok and Sumbawa. In the 17th century Niratha also from Java came to Bali and built temples, adding to Uluwatu.
Behind the main pagoda of Pura Uluwatu’s small inner sanctum, a limestone statue of a Brahman priest surveys the Indian Ocean-it is said the statue represents the founding priest Dwijendra. Another shrine within the complex represents the boat on which Dwijendra traveled from, then, Hindu Java. According to legend he arrived at Pura Peti Tenget, north of Kuta.
Uluwatu Beach is known for its surf and, in nearby hostelries, its full moon rage parties. It rages at the temple too but in an orderly way, thanks to the royal house of Puri Agung Jero Kuta, Denpasar, who are the temple’s hereditary pangemong (custodians). Hundreds of nobles from this family, and many ‘devotees’ (pengayah) and village pemangku priests from nearby hamlets, ensure that every seven months (on Anggar Kasih Medangsya by the Wuku Calendar, to be exact) the festival is run efficiently, and most elegantly. The palace is proud of its ancestral role: it manages the awesome logistics with fitting dignity.
Being a popular surfing spot for the very experienced, Uluwatu offers a wonderful vantage point to view a spectacular sunset. Warungs or small restaurants perched on the cliff offer a comfortable spot to survey the vast Indian Ocean beyond and below the 100-meter-high cliffs with panorama on three sides. Monkeys inhabit the temple and cliff face hoping for a banana or some peanuts from the visitors.
Pura Tirta Empul is the temple of Tampak Siring, built around a sacred spring. Tampak Siring is an inscription dates the spring all the way back to 926AD; and there are fine carvings and Garudas on the courtyard buildings. The temple and its two bathing spots have been used by the Balinese for over a thousand years for good health and prosperity; as the spring water really does have the power to cure. Regular purification ceremonies also take place here.
A little off the main road in Tampaksiring is Mount Kawi with its group of large stone memorials cut into cliffs on either side of a picturesque river valley. It is believed to date from 11th century; one is of Bali’s most impressive sights. Tampak Siring artists produce marvelous bone and ivory carvings. Both sites open daily. By public transport from Ubud, catch a bemo north to Tampaksiring from the junction in Bedulu, which is southeast of Ubud.
An archaeological complex lies on gorge of Pakerisan River. To reach the complex visitors must walk about 600 meters from the parking area to the ticket counter than walked down on 315 stone steps. Before take a cross on the bridge at the bottom of the valley make a turn to the left to see the first stone monument. Another group of stone monument is located on the left side of the main temple across of the river.
The monuments are hewn in relief on a solid rock hill commonly called candi (temple). There are shaped like burial towers found all over Central and East Java. However, there are many theories telling identity of the royal personages honored here. One very credible theory suggests the five temple in the main group were built for King Udayana, his Javanese queen Gunapriya, his concubine, his illustrious eldest son Airlangga who ruled over East Java, and his youngest son Anak Wungsu. Reigning over Bali from AD 1050 to 1077, Anak Wungsu is believed to have given up his kingdom to become a religious hermit.
In the right of the main ensemble of temples is a cloister with five cells carved out of rock. The cloister inmates most likely were caretakers of the temple. There’s a second hermitage near the main cloister, consisting of niches around a central courtyard, which might have served as sleeping quarters for visiting pilgrims. To get into this part of the temple visitors must take of their shoes. A walk up north of the temple complex could be a short nice walking along the rice field and river stream. The path leads to a small waterfall after 800 meters away and about 1,5 kilometers to Mengening Temple.
Tanah Lot is located about 12 kilometers from Tabanan City and 20 kilometers from Denpasar. The area comprises a wondrous mixture of natural beauty and sheer human effort. Here lies an idyllic white sand beach with crashing waves, complemented by a small yet majestic temple. This temple, known as Pura Tanah Lot, juts out to sea on a rocky background. Tanah Lot attracts throngs of both locals and tourists daily. Most come here longing to catch a glimpse of the romantic Tanah Lot sunsets, a regular occurrence during the dry season (April to November).
The royal Taman Ayun temple was built by one of the last priests to come to Bali from Java in the 16th century. The temple stands on the top of a huge rock, surrounded by the sea and is one of Bali’s most important sea temples. Tanah Lot pays homage to the guardian spirits of the sea. Ancient rituals pay homage to the guardian spirits of the sea.
Poisonous sea snakes found in the caves at the base of the rocky island are believed to be guardians of the temple, standing Virgil against evil spirits and intruders. At the base of the rocky island are poisonous sea snakes believed to guard the temple from evil spirits and intruders. The best time to see Tanah Lot is in the late afternoon when the temple is in silhouette.
It is located near to Sangeh village; the renowned 6 hectares of Bali Sangeh Monkey Forest are filled with giant nutmeg trees capable of growing as high as 40m. Sangeh Monkey Forest near the village of Sangeh, in southwestern Bali, has six hectares of forestland with giant nutmeg trees. The main attractions here are the hordes of funny yet wise Balinese monkeys inhabiting both the trees and the temple, Pura Bukit Sari, found in the heart of the forest.
The monkeys of the forest are believed to be sacred and indeed will approach anyone paying respects at the temple. But visitors should be aware that these monkeys are attracted to shiny objects, so cameras and jeweler should be left behind or kept well hidden under clothes or in a bag when exploring Sangeh Bali.
Near Sangeh village, about 20 km north of Denpasar. This forest of approximately 6 hectares is filled with giant nutmeg trees that can grow up to 40m high. The main attractions are the hordes of Balinese monkeys that inhabit the trees and the temple, Pura Bukit sari, located in the heart of the forest. The temple, Pura Bukit Sari, was originally built around the 17th century as an agricultural temple and has been restored several times, most recently in 1973.
In the central courtyard, a large statue of Garuda, an old carving of uncertain date, symbolizes freedom from suffering and the attainment of amerta, the elixir of life. The forest of nutmeg trees in which it lies was presumably planted deliberately a long time ago, for it is unique in Bali.
Mount Agung is Bali’s biggest trekking challenge. The most revered and the highest peak in Bali, Mount Agung stands tall at over 3100 meters. Fortunately, Bali’s highest and most revered mountain is not difficult to climb. The tip is to start well before dawn, armed with a strong flashlight, water, food, and warm and waterproof clothing.
The best time for a climb is during the dry season of April through October. But climbing is not permitted when major religious events are held at Pura Besakih, which is most of April. The shortest and most popular route up Mount Agung is from Selat or Muncan; involving the least walking due thankfully to serviceable roads from both Selat or Muncan town to the Pura Pasar Agung, or Agung Market Temple. From the temple, we can climb to top in as little as 2 short hours.
Still an active volcano Mount Batur sits 1,500 meters above sea level and takes about an hour’s drive northeast of Denpasar. Smoking and rumbling takes place periodically at this mountain. Two eruptions occurred in 1917 and 1926 and more recently in 1994. A crater lake was formed about 30,000 years ago after a major eruption. Many vantage points offer spectacular views of the area. Hiking tours start at 3a and end at 6a when one reaches the summit to view a beautiful sunrise.
The Balinese consider Mount Agung to be the center of the world. All temples in Bali point towards Mount Agung. The Mother Temple of Besakih, with its uncountable steps, solemnly wait for the arrival of the gods and the goddesses, for when they step down from heaven, they come to Besakih by way of Mount Agung.
Bratan Lake is located next to Mount Bratan and Mount Catur. It is the second largest lake in Bali. Filling the crater of the inactive volcano Mount Catur, Bratan Lake sits at over 1,200 meters above sea level. The important temple of Pura Ulun Danu solemnly guards the lake.
The resort area of Bedugul offers excellent views of the lake, as well as a number of water activities. Providing a cool retreat from the hot and humid regions of Bali, its shores provide the traveler with hotels and restaurants and its cool waters offer parasailing, water-skiing, banana-boat rides and other water sports. Some Japanese caves across the lake were dug during World War II. While in the area hike to the beautiful shrines that dot the lakeshore and forested hills around the lake or visit the beautiful Pura Ulun Danu Bratan.
Not far from here are Buyan Lake and Tamblingan Lake, two of the four large lakes on Bali, which can also be worth a visit. Bratan has an altitude of about 1.000 meters, the climate is quite comfortable, at nights we may even need some warm cloths. The area round the lake is well equipped to cater for visitors, with facilities for various water sports (motorboats, water-skiing, bathing) and a good restaurant.
Batur Lake is the old crater of Mount Batur, a still active volcano next to it. It is located on the northern part of Bali. The largest lake overshadowed by the active volcano is located in Bangli Regency, at the northeast of Bali. Batur Lake is the widest lake in this island. It lies down in the feet of Mount Batur and Mount Abang. The lake is classified as a “neutral-dilute” lake because there is no known underlying hydrothermal activity, and the abundant rainfall more than quenches any such activity.
There is a hot spring right by the lake. We can enjoy the spectacular scenery of Batur Lake from Kintamani. Across the lake, only reachable by boat, lies Trunyan village, where the Bali Aga people live. The surrounding of the lake is a favorite place for picks self up. At Batur Lake we can see the scenic view and feel cool atmosphere. Bangli’s mountainous region center is around the spectacular volcanic crater (or caldera) of Batur. Mount Batur adjacent to the volcano is the large crescent-shaped Batur Lake, all surrounded by the high walls of the crater rim. The place is a great day trips, trekking or just to get away from the daily activity.
Mount Batur itself is actually just a small volcano, but sets in the heart of a huge crater 14km in diameter. Adjacent to the volcano is the large crescent-shaped Batur Lake, all surrounded by the high walls of the crater rim. As the road rises steadily from Bangli or Tampaksiring, nothing in the surrounding gray landscape of bushes and garden plots suggests the presence of a volcano. But over one more small ridge a dizzying view awaits the ayes, encompassing the crater and beyond.
From Panelokan, the main road runs right round the rim towards Kintamani, the panorama shifting as we circle around the crater. One very interesting excursion in Batur is the climb down the inside of the crater from Penelokan to Kedisan. We can then drive around the smaller Mount Batur, through Songan. From Toya Bungkah, boats cross the lake to a Bali Aga village called Trunyan. This place is notorious for its mortuary traditions. Instead of cremating the dead, as Balinese do throughout most of the island, the Trunyan communities leave the bodies to decompose naturally in a special cemetery.
Nusa Lembongan, a small island between Bali and Nusa Penida in Badung Strait, is the perfect holiday hideaway with few visitors and pristine un-spoilt beaches. A low, protected island about 11 km southeast of mainland Bali, measuring only four by three km and ringed with mangrove swamps, and palms and white sandy beaches.
Inland the terrain is scrubby and very dry, with volcanic stonewalls and processional avenues crisscrossing the small cactus-covered hills. Overlooking Sanghiang Bay with its clear blue waters, the Nusa Lembongan Resort offers a panoramic view of eastern Bali and the majestic silhouette of Mount Agung. Known for its great surf, the excellent crystal-clear waters also make it a perfect place for snorkeling and diving. It’s still a basic place, but interesting, and there are some lovely places to stay.
The island is small enough to explore on foot, offering pristine beaches and coves, majestic views of Mount Agung, unique Balinese architecture, and the friendliness of a simple country folk. With a lack of arable land and a severe shortage of tourist attractions, the island’s economy is limited to its underwater wealth-seaweed. A secondary occupation is catering to visiting surfers. Between Nusa Lembongan and the adjacent of Nusa Ceningan Island, the population is only 60,000.
There are just two villages on Nusa Lembongan, the large, spread out administrative center of Lembongan Village, and Jungut Batu village. Surfers and backpackers hang out in the latter, about 150 per month, for an average stay of three to five days. The only other visitors are European, Japanese, and Australian day-trippers on excursion boats.
Jungut Batu offers the island’s best accommodations and water sport opportunities. There’s motorcycle traffic between the two villages and it’s easy to get a lift. Both villages are heavily involved in the cultivation of seaweed. Before government-supported commercial seafood production in 1980, the people of the island lived on maize, cassava, tuber, beans, and peanuts. Today most everyone is involved in one way or another with cultivation of “sea vegetables,” and the air is permeated with its smell.
Visit the seaweed gardens at low tide; they look like gigantic underwater botanical gardens. Two kinds are grown, the small red pinusan and the large green kotoni. Almost the entire crop is exported to Hong Kong for use in the cosmetics and food processing industries. After harvesting, gatherers leave a floating offering of rice and flowers that gently drifts away on the outgoing tide.
Life on Nusa Lembongan is very relaxing, with cool breezes, little traffic, no big hotels, no pollution, no stress, no photocopy machines, and hardly any telephones. Best of all, there are almost no pedagang acung (pushy vendors) and few thieves. Jungut Batu’s charming “tree house” bungalow-style accommodations with outdoors open-air ‘mandi’, rickety wooden furniture, sand floor restaurants and offices are reminiscent of Kuta Beach 20 years ago. Crops are meager, and the only fruit available is melon. All other food must be imported from the market in Denpasar or from the neighboring island of Nusa Penida.
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