The history of agriculture started since ancient times as humans sought after a better living subsequent to nomadic hunting and gathering. They decided to stay put in an area that deemed to provide sustenance, and started to tend lands and harvest.

Rice perhaps is not the first plant they familiarized with, yet it is this single plant that has now become the staple diet among the societies across the archipelago, including Bali.

Food and nourishment are fundamental necessities, thus agriculture is in a very important position as it is depended upon by many people. A successful harvest becomes a determinant for the life sustainability of the surrounding societies.

Balinese societies believe that a great force aides them in achieving good harvests. As though they believe that it is such power that created the rice stalk for their lives. And that great power is manifest in Dewi Sri the goddess of rice and fertility. Dewi Sri is embodied in the culture and prevails through the generations.

Miguel Covarrubias, an anthropologist, once stayed in Bali and wrote the impressive book, Island of Bali, which explains Bali comprehensively . Through the book he also tells of the legend of the origins of rice in Bali. It goes that in the beginning the Balinese only knew sugar canes. Dewa (’god’) Wisnu, known as the affectionate and protecting god, wanted to create a better food for his human subjects. His marriage with Sang Hyang Pertiwi or Mother Earth gave birth to the rice which took over as the staple food. God Indra then taught the humans how to sow rice and harvest.

This legend holds a very deep meaning. This is not indispensable from the local genius of the Balinese who never forget to devote and make use of symbols to express their spiritual dedications.

God Wisnu is personified as water, while Pertiwi is earth. Fertility and prosperity will only happen if the two unite harmoniously. If Pertiwi is present without Wisnu, then there would be drought. If Wisnu were to be present alone then there would be floods. Both would spell an unsuccessful harvest.

Dewi Sri is personified as rice emerges through the blend between water and earth. Afterwards another interpretation of the symbolism emerged that Dewi Sri was the consort of Dewa Wisnu and Wisnu can only carry out his duties as protector with Dewi Sri by his side. Logically, life would only exist on earth if there was fertility.

Dewi Sri fills a significant position in Bali. Bali is agrarian. Even up until now when tourism sweeps and spreads rapidly in Bali, according to the statistical data on land usage – most is for agricultural. Half of the demography also deals in the agricultural sector.

The Balinese worship Dewi Sri as a motherly figure. At home there are always flower offerings placed at the rice barn or rice container. Farmers worship her by erecting small shrines amidst their green rice terraces. Traditional irrigational organizations in Bali known as Subak also have a dedicated temple for Dewi Sri known as the Pura Subak.

In the rice fields, Dewi Sri also referred to as Nini Pantun or Dewi Padi or Ibu Padi. We can observe Nini Pantun through the Ngusaba Nini ceremony – a ceremony for celebrating harvests. This ceremony is also meant as to “carry” the spirit of Dewi Sri towards the rice barn or lumbung.

Farmers make a Nini Pantun from two ties of rice stalks. These two represent the two general opposites in nature – male and female, north and south, positive and negative. The principle is that prosperity is only achieved once two elements are combined. The two ties are bound together on a length of wood which is stuck into a cleft near the primary irrigational channel. Then after, the harvest commences.

In this ritual besides making offerings, farmers also make decorations that symbolize Dewi Sri, namely the Cili. Cili are made of lontar or palmyra palm leaves and is shaped in the form of a female figure.

The word Cili probably evolved from the word Cilik that means small or petite. The ever expanding creative process has made way to the Cili in forms of Chinese coins or forms of traditional hard flour cakes. Cili not only can be used for ceremonies connected to rice but also other ceremonies including the manusa yadnya or human rites such as weddings. Lately Cili has been used for decorations and has become somewhat an icon for Bali.

Dewi Sri not only is worshipped in her function as the goddess of rice but also prosperity. Merchants in the traditional markets worship her by the name Dewi Melanting. Another version of legend tells of Dewi Melanting being the daughter of the goddess of rice and fertility.

Tales of the goddess are actually not only confined to Bali but also can be found in other places. Dewi Sri is the symbol of worship among agrarian societies.

In Java, there are many versions of the tales of Dewi Sri. Among them is a story that tells of her being the daughter of Bhatara Guru. She is frequently connected to the field snake.

The traditional Javanese have a special place in their homes for Dewi Sri meant to endow prosperity which is decorated with field snake carvings. In agrarian societies, snakes that enter the house compound are not shooed away as it is believed to signify an impending successful harvest, instead it is given offerings. No wonder, as field snakes prey on rodents, the farmer’s biggest nemesis.

There are also tales that Dewi Sri is the daughter of a king who sacrificed himself in order to save his people from drought. The exact place he committed the sacrifice grew the plant as we know now – the rice. The princess is highly revered until present time and is referred to as Dewi Sri.

Hinduism and strong traditions perpetuate her worship among the main deities of the Balinese. It is no mere tale passed down through generations but an obligation that must be lived by the Balinese Hindus.

One of the simplest forms of devotion is when parents always teach their children to not waste rice by eating up the whole plate. Besides being a way appreciation to Dewi Sri, it is a sign of gratitude and appreciation to the farmers who have become the mediums for the subsistence of the people.

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Sources of Guidance to Build a House
An old Hindu’s manuscript called Lontar Asta Kosala Kosali is the chief guide to build a proper Balinese house. There are also other manuscripts, such as Lontar Asta Bumi (containing size of land and location a good house), Lontar Asta Dewa & Lontar Wisma Karma (containing the name, shape, and function of each a building), and Lontar Dewa Tattwa (containing clearance ceremony before a house is built). In many aspects of life, those guidance books have been developed depending on the surrounding, local topography.

Bali House design

1. Family Temple.The house temple called Sanggah or Merajan, is the place to worship the ancestor and the Hyang Guru.
2. Sleeping Pavilion.This building usually a large eight-post structure on a high base. A terrace usually attached for receiving guests at family ceremony.
3. West Pavilion The west pavilion or Bale dauh, is the workhouse of the compound. Serving the variety of purposes, from gathering place to sleeping quarters
4. Ceremonial Pavilion The east pavilion, or bale dangin is the ceremonial pavilion. The place is where the life rites and death rituals occur.
5. Sakenam The guest pavilion for relatives and children varies in size and number according to the needs.
6. Granary Or the lumbung or jineng is the storage area for rice.
7. Kitchen Or paon is in the south because of the association with Brahma (the god of fire) whose place in the south.
8. Protective Wall Or aling-aling, most behind the gates to deflect the malign influences.

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Love is always inspiring, as it can bring both happiness and sorrow. In Bali, this theme has inspired many traditional theater performances, dances, literature, and even songs.

Jayaprana - Layonsari
Centauries ago, there was a small kingdom in what we recently called as Kalianget Village in Buleleng Regency. Once upon a day the Kalianget kingdom was suffered by a dangerous disease that cause most of the people died. The whole kingdom was in a deep sadness, then the king of Kalianget decided to have trip to entertain himself after the disease was over. It was said that he lost all of his family, at a cross road he met a child who was crying for the death of his parents and his brothers. The king adopted the boy to be his son because of losing all his children. He took the boy to the palace and tought him to be a soldier to service the kingdom in the future. The boy was called Jayaprana. When the boy had got adult he became a handsome and powerful soldier. Although he was a beloved soldier to the king, Jayaprana was a simple person, he dedicated his life to the kingdom especially to the king.
Then, the time had come. Jayaprana fell in love with a beautiful flower seller in the market. The girl was Layonsari (actually this is not her real name. No one know her real name. The name of Layonsari was known after her death). Layonsari also fell in love with Jayaprana. The lovely couple intended to get married and this was a happy news to the whole kingdom. It was such a happy atmosphere surrounding the kingdom especially for the married couple. But what’s a pity. When the king met with Layonsari, he suddenly fell in love with Layonsari when Layonsari had been Jayaprana’s wife. He was really obsesive to Layonsari though he realised that Layonsari had been to be Jayaprana’s wife. To have Layonsari to be his wife he had to kill Jayaprana.
The king set up a plan tokill Jayaprana by ordered Jhim going to the forest near the sea to kill the intruders/robbers accompanied by his guards. With this strategy the king hoped he could gave Jayaprana away from his wife and he could persuaded Jayaprana’s wife to be his wife. Jayaprana went to the forest although his wife had told him about her bad sign for his journey. He accompanied by Patih Sawung Galing, the head guard of the kingdom.
After several days they reached the forest eventually. There were many faiths with the robbers, and they succeeded in killing all the robbers. At the last faith with the robbers, Patih Sawung Galing tried to kill Jayaprana. But he could not. He tried many times with various ways but nothing could kill him. Then Patih Sawung Galing stopped. Jayaprana and Patih Sawung Galing made a conversation. Jayaprana asked Patih Sawung Galing why he wanted to kill him. According to Patih Sawung Galing, that was the king’s order.
He told Jayaprana that the king had a desire for Layonsari and wanted her to be his wife. Jayaprana understood and became sad. He knew the king was very kind of him during his life. Jayaprana wanted to give anything to the king but his wife. He had promised to obey all the orders of the king. Of course, Jayaprana could killed Patih Sawung Galing and then killed the king. But what for? He thought, with the event, he had nothing anymore in his life except his wife. He was so sad. Then he decided to let Patih Sawung Galing to kill him in order to fulfil his promise to the king, his step-father. He took the flower he was using in his hair and gave it to Patih Sawung Galing. Jayaprana also gave his Keris (Balinese wavy dagger) to Patih Sawung Galing so he could kill him. Jayaprana asked Patih Sawung Galing to send his mesage to his wife that he was died in order to fulfil his promise to the king. The tears of Patih Sawung Galing dropped when he took the flower and Keris. With just one hit Patih Sawung Galing could kill Jayaprana easily.

Then the magic began. A good smell came from the body of Jayaprana and spreaded out to cover the forest. All animals became sad and screamed out but a white tiger. The tiger jumped to Patih Sawung Galing and killed the Patih Sawung Galing with one hit. The rest of the guards, deeply sad, went back to Kali Anget and told the story. At Kali Anget palace, Layonsari, after knowing her husband had been died for the king, commited suicid. And the same thing happened, a good smell came from her body and spreaded out to cover the palace. (Jayaprana’s wife had her name from this event. Layonsari derived from two words; Layon means the death body, and Sari means a good smell). The good smell was a sign that they had no sins.The king was so sad with the event. Then he withdrewn himself and stopped reigning the kingdom.
People of Kali Anget then brought the body of Layonsari to the forest where Jayaprana killed few days ago (because they wanted to met them together again). At the place the people built two graves. One grave for Jayaprana and Layonsari, another grave was for Patih Sawung Galing. The last man was destined to be the guard of the grave forever. After a complete ceremony, Jayaprana and Layonsari were stated as holy spirit. Event untill now people believe that the magic is still going on. Down on the sea, you can see from the hill where the grave lies, there are colorful sea coral that somehow in a special moment the color will change eventually.
For centuries there have been many people (any kind of religions) come to the grave to worship and built a temple surrounding the grave. It is peace and has a good view on the grave yard, Menjangan island, event some mounts in East Java can be seen from this grave. Indeed in front of the grave is a beautiful peninsula, the grave located some 1 km from the main road toward the top of the hill. The place is known as Teluk Terima the grave, some 15 kms from Menjangan Resort, some 45 kms from Pulaki Temple , the area is considered to be part of West Bali National Park .
The story about Jayaprana and Layonsari has become a love story epic for Balinese people. This sad story has been translated to many Balinese traditional songs, many Balinese dances and scrips of Balinese play (sendratari). It is compared much more like Shakespear’s Romeo and Juliet. Though most of the people believe this is a true story but Balinese historians can not find any clue due to its existance except the grave.

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The sacred Barong and Rangda are treated as sacred, but the commercial ones are also available to support tourism and the economy. Barong dances, among the most sacred in Bali, symbolize the intertwining of good and evil and the complex relationship between man and the supernatural. The term barong can apply to the dance, the mask, or the character depending on context. The barong animal mask represents good, and its types include the tiger, boar, and buffalo; the most characteristic, however, is the barong kek, a mythical animal. Evil is personified by Rangda—literally “widow,” but interpreted as a witch associated with spirits of the dead. Several men armed with keris (daggers) accompany Rangda when she enters. Under her influence, they go into a trance and stab themselves, but are protected from injury by Barong’s presence. Barong’s eventual victory is taken to affirm his protection of the village. Both barong and rangda masks are kept in the village temple between performances. Though interpreted as good versus evil, the two sides are more equivocal, and Barong’s victory is never regarded as conclusive.

According to the ancient Calonarang manuscript, Rangda is a moniker for a widow of overwhelming desire or unrepressed fury sparked by revenge. The manuscript is from old Javanese literature that hails from the 11th century. It tells about a widow who possessed supernatural powers, but unfortunately she used those powers to spread terror over the people. At the end of the story the widow duels with Empu Bharadah, a clergyman emissary of the king. During the battle the widow became transformed into Rangda, a bloodcurdling figure, whereas the Empu changed into Barong, the supernatural form of a mythical lion.

The Calonarang story is often performed during Odalan temple anniversaries. By midnight the community gathers in the outer courtyard of the temple. The ’show’ starts in a nerve-jangling atmosphere as a scene depicts villagers falling victim one by one to the black magic spell cast by Calonarang. They conduct ceremonies meant for the dead as though they were really all dead, while ogres dance throughout the rituals. The atmosphere becomes even more chilling when you are warned never, ever to leave or go home while the performance is in progress. People believe that real evil spirits may have taken form and are on their way to ‘attend’ the feast… and that you could bump into one or more of them on your way home.

The Calonarang ends near daybreak when it depicts the Barong successfully defeating the evil widow. The people leave the temple grounds in groups. Creepiness is still in the air, but curiosity causes most people to want to watch it again in the future. Mysterious things always lead to curiosity.

Balinese Hindus see the Barong not only as a figure in the Calonarang legend or dance performances depicting the same tale. The Barong itself is believed to be a protective symbol that resides over a certain region. He is placed in a temple and worshipped by a certain name. For example, the people in the village of Panjer in Denpasar revere Sang Hyang Ratu Mas in the configuration of a Barong there. Sang Hyang Ratu Mas descends from His abode while the sacred dances are performed on certain pre-determined days.

Not all Barongs are sacred or placed and worshipped in a temple. Besides supporting historical literature, there is also quite a long and complex process in the creation of its physical form. The mask of the Barong is made from pule wood, a special wood believed to have magical properties. The other parts such as the hair also comes from special materials such as peacock feathers and horse mane. In each of its production stages, a good and certain day is always chosen. The last is a pasupati and mejaya-jaya ceremony to spiritually endorse the result. Pasupati is a ceremony to ask for the certain spirit to descend and reside and endow it with its spirit and powers. Majaya-jaya is to ask for blessings at some major temple such as Besakih. These final steps make the Barong sacred.

As times have passed with the growth of tourism in Bali, many things have changed. Not a few sacred symbols have been commercialized and have become amusement for tourists, including the Barong and Rangda. Tourism cooperates with art groups, who then perform Barong and Rangda performances for tourists – anywhere and anytime.

Barong and Rangda have become very famous, now identified as icons of Bali. When people see a picture of Barong or Rangda, it is unmistakably reminiscent of Bali. Both of them have become icons indeed.

As Bali grew to become a favourite tourist destination, so were the demands to have Balinese handicrafts as a prestigious token. The demand for Bali’s handicrafts is increasing and among the many are the Barong and Rangda. You can easily find replicas in the Sukawati art market. The craftsmen of Ubud can also make masks by order. People do not have to wait for the right auspicious day to start a process. The tourists proudly wear t-shirts with Barong masks printed on them – known as ‘baju Barong’, available in all colors and sizes. It is ‘proof’ that they have ‘been to Bali’. The craftsmen mass-produce these items so they can now easily be found in art markets or shops everywhere.

On the economic side, the Barong and Rangda have provided the local craftsmen and businessmen with profits, through not only retail but also wholesale and overseas exports. This was a shining prospect bright enough for the development of the people’s economy.

Balinese elders would have never known about the significant shift of its meaning and function. On the other hand the Balinese now are quite wise in making a clear separation between the sacred and the commercial. The sacred Barong is still treated specially, but the commercial are also available to support tourism and the people’s economy. This distinction was made so that both of them could walk in their respective paths without overlapping each other. Sacred is a part of religion that is basic for the Balinese. On the other hand, tourism and the economy are important things as well.

The eerie impressions of the Barong are not as strong as before. The commercialization is one reason. The technology development is also another. Before, the villages did not have electricity so people were easily frightened with scary stories while they were in the dark. But now electricity is along the village roads and if people are still scared to watch a performance on site, they can always watch it on the local TV station.Similar Posts:

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What is the banjar
The banjar are adjudicators of adat, traditional law and determine dates for religious events, collect money for ceremonies, allocate temple maintenance, oversee land sales and on occasion hand out summary punishment to troublemakers.

How the banjar fits in with Balinese village structure
Bali is dived into kabupaten (districts), kecamatan (municipalities) and kelurahan / desa (villages). Traditionally a banjar will control a desa, more accurately the inhabited land. The sawah (rice-fields) are governed by the subak, another integral part of Bali’s social system. The subak will determine when a farmer can flood his fields and its primary role is the control of water, since Bali’s economy and culture depend on the production of rice. Both the banjar and the subak each with their temples and organizations.

Balinese villages have an organizational structure. If you look into the family compounds you will see red tiles roofs, various family bale structures and other familiar buildings. You will also see the same family temples (sanggah/merajan). A large tree will indicate the banjar pavilion, with 2 slit logs hanging from the branches, as well as religious shrines. This is where the banjar meets to discuss important village issues and is a community meeting place. Banjar means ‘neighborhood’ and people feel this place is where they can come and feel at one with the community.

Banjar society
Membership to the banjar is mandatory for each Balinese married man. The banjar has its own system of lending locals money for equipment. At the banjar pavilion everyone takes a turn at cooking, cleaning and performing menial duties. The leader of the banjar is elected and approved by the gods via a medium.

The basic social unit of the banjar is the pekurenan (couple). Only Balinese married couples are full banjar members and subjected to the banjar rights and obligations. Foreigners or other Indonesians cannot join the banjar as it is tied up with Balinese culture and the Agama Hindu religion. All banjar meetings are conducted in Basa Bali (Balinese language). The decisions are taken by the sangkep (assembly) of the banjar’s male members, the krama banjar, which often occurs every 35 days.

Ceremonies
Most ceremonies, at the level of the family or of other local temples, cannot take place before a pejati (”notification offering”) at the kahyangan tiga. The most important is probably the pura desa, or village temple. Its god, Batara Desa, is usually given the forefront position during the village processions of gods. The desa pekraman (village community) is in reality also the congregation of the pura desa, whatever the other affiliations. It is headed by the bendesa adat.

Much of the ritual work at the village level is shared among the various banjar, for example, More than participate in upacara (ceremonies). One banjar may look after the pura desa for the upcoming festival and another banjar for the one after. Banjars will redistribute the work entrusted to it, via the kelian banjar or neighborhood headman. All ritual activity will need his involvement before it can take place.

The desa (village) usually has three village temples, the kahyangan tiga, each positioned according to adat (traditional law and custom) and relating to the village’s symbolic life: The pura puseh (temple of origin, representing the village founder and also called the navel temple) is located towards Gunung Agung. This is where the important gods of the village and its founders are worshiped; The pura desa (village temple), is located in the center of the village, where meetings of the village assembly and the rituals of fertility are held; the pura dalem (temple of the dead), located toward the ocean, domain of the demons, is where the forces of death are worshiped. Cremation ceremonies take place here and the graveyard, for bodies awaiting cremation is also here. Besides these territorial temples, there is also a temple for each banjar (bedogol or pura banjar), a temple for each subak, and the various temples of the local sub - groups (pura dadia or pura panti), each one having its own calendar of festivals.

All temples of the kahyangan tiga (pura peseh or ‘temple of origin’, pura desa or ‘village temple’ and pura dalem or ‘temple of the dead’) are a vital part of all local rituals.

Banjar decision making
The decisions are taken on the basis of unanimous agreement, unlike the western ideal of ‘winner takes all’ (majority rule), The banjar has been, since 1979, recognized by the Indonesian government and is the lowest administrative structure of the national administration. Fitting in directly under the authority of the perbekel / lurah (supra - village head) and beyond the traditional bendesa adat (village head).

There are also two types of kelian banjar, the kelian dinas, who is in charge of the administrative aspects of the banjar life, and the kelian adat, who looks after the customary aspects in collaboration with the bendesa adat. They usually work together, unless the two roles are fulfilled by one person.

Sharing the joy & pain
The banjar has an association called the ‘banjar suka duka‘ which means ‘the association for the sharing of joy and pain’. This relates to the function played by the group in the organizing specific social services or work called ayahan. Every banjar member has responsibilities in helping help the temple clean, preparing for ceremonies, providing funds and offerings. These responsibilities are some of the most important of all found in the network of village associations and Balinese can get ejected from the banjar if they do not participate.
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The cremation ceremony on this island has always been very fascinating for visitors to Bali. So grand is every cremation ceremony that only a family with a large bank account would ever be able to stage it right after they had lost a family member. Those who have no money would have to wait for months—often years—until enough cash is saved for the ceremony.

That quite makes sense, as the cremation itself is merely the beginning of a series of ceremonies that a family must carry out until the soul of the deceased eventually enters heaven, instead—as they believe—of wandering and therefore constantly unsettling the family members.

Indeed, frequently beyond sight are the many rituals that follow after the cremation—such a grand procession ending with every delicately decorated item, including the dead body inside the structure, set on fire. If a moderate cremation will cost a family roughly Rp. 15,000,000 (US$1,600), it means they have to spend a lot more money for the following ritual, the memukur.

In short, cremation is described as the ritual of burning a body into ashes, and then releasing them into the ocean or a nearby waterway. Memukur, on the other hand, is the ritual of calling in the soul (from the thrown ashes) from the sea, purifying it and then escorting it to the family temple where it is joined by the other ancestors in heaven.

Cremation is to clean the physical body, whereas Memukur is to purify the soul of the body and escort it to heaven.

Therefore, memukur is actually one of the most important parts of the Balinese life’s passage, without which no one is believed to be able to ever enter heaven, swarga. A cremation ceremony will never be considered complete until this most important rite is performed. So important is this rite that it requires the most complete set of offerings, costing the family years of income.

Unlike cremations which normally is carried at mid day, a memukur ceremony is held from midnight until dawn, so it hardly attracts much public attention. And all the villagers will not participate but rather only close family members.

If a moderate cremation costs a normal family roughly US$1,600 and the same or double as much for its memukur, you can just imagine how much it would cost for a royal family!

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For rain, however, the Balinese have a tradition to stop, hold, or divert it to other locations or to simply hold it for several hours. The aim is to secure a rain-free spot where a function or activity is being held. Many important occasions in Bali and other parts of Indonesia were made rain-free by traditional means. For example, the opening performances of the annual Bali Arts Festival at the Denpasar Art Centre is usually accompanied by a rain-stopping ritual, especially if the program is going to be attended by special guests like Presidents, ministers, and ambassadors. To also ensure the smooth running of a temple festival, a ritual of rain stopping will usually be performed. At Besakih Temple, there is a shrine for the seat of Ida Ratu Sila Majemuh, where rain-stopping rituals are usually performed to avoid rainfall in the Besakih Temple area during a festival.

The ritual of rain-stopping or diverting, is not an eye-catching activity because it is performed low key. It is performed by officiating small offerings and burning incense, as well as a plate of fire (pengasepan). All of these aim to produce smoke that on rising up is believed to be able to push clouds away. The movement of the clouds aims at letting the rain fall elsewhere or pour when the rain stopping ritual has ended.

In Balinese tradition there is also a rain-asking ritual. This ritual is usually performed in the case of long dry spells. Groups of farmers often perform this in order to water their paddy. A more elaborate offering is required for the rain-asking ritual. Both the rain-asking and stopping rituals have proved to work well otherwise would not still be performed. The failure of a rain stopping ritual might occur because several rain-stoppers are in action at the same time at a similar location.

A person who performs the rain stopping or rain diverting is called ‘tukang terang’ in Balinese or ‘pawang hujan’ in Indonesian. Knowledge in asking and preventing or diverting rainfall is kept in a ‘lontar’ leaf manuscript written in old Javanese. Some of these have recently been printed into a book form with stunning calligraphy or rerajahan. A tukang terang usually gains knowledge and skill through either reading lontar palm leaves or by receiving divine blessings through a series of trances. Before being able to perform a rain stopping ritual, they need to do a self-purification ritual. Many temple priests try to have rain stopping rituals performed for his/ her temple. A set of offerings and a lot of incense is required for performing a rain-stopping ritual. The offerings will be officiated in a shrine or temple near to the area where the function is to be held. Hotel management or event organizers might invite a tukang terang from a distant village if the local temple priest is not keen to do so. During the ritual, a tukang terang spell is cast as a mantra in the form of mediation, to ask God to kindly pour rain on another place.

The continued use of rain-stoppers in various activities indicates that this traditional knowledge or belief still has its functional meaning and practicality in the modern age. Although modern technology now witnesses the use of laser-light to clear a cloud to prevent rainfall, the traditional way to divert rain is still popular in Bali as it is in most regions in Java. Compared to modern technology, the use of a traditional rain-stopper is much more practical, while its effectiveness is almost certain. If you happen to have an important and special outdoor function yourself, do not allow rain to spoil it. Invite a rain-diverter, and, let the Balinese Gods do the rest.

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The presence of coins in rituals has become somewhat compulsory. Meanwhile, the stock of coins has seen a decrease. It is no wonder, for as the population grows more people conduct rituals and the demand for coins rockets sky-high. During certain rituals such as ngaben cremations or rituals for the butha kala or lower deities, the coins cannot be reused.

This increase has led to people making duplicates. The duplicates are far different from the original ancient Chinese coins. The sizes are smaller, they are thinner, and the Chinese characters have almost disappeared. These rough imitations can be found easily in traditional markets. The price is much cheaper than the original. People pay Rp. 1,500 per coin for the original, while they only pay Rp. 200 per coin for the imitation version.

The imitations are selling well in the market as many buy them because they have no choice. For some people, ‘cheap’ can be the main reason because in a small ritual in a small temple the number of coins needed may amount to thousands of rupiah. The amount for Chinese coin purchases can be among the ‘big buys’ in a ritual.

This took place in the village of Tojan in the Klungkung regency, where the factory and showroom is positioned together as UD Kamasan Bali. The factory mass-produces coins for rituals and accessories. The building has metal merging and forging in the basement, accessory creation on the top floor, and the showroom is in the front.

This factory makes different versions from the original Chinese coins, and the coins are produced by five different metals known as Panca Datu or ‘five strengths of life’. They include iron, silver, copper, gold, and bronze. Respectively, the materials have special meanings and potencies.

The Balinese characters also show special significance and strengths. They replace the Chinese characters that mostly note the issuing dynasty’s name. Nowadays, the words ‘Sa’, ‘Ba’, ‘Ta’, ‘A’ can be seen beside every side of the square center hole. Again, the four of them represent the strength in four corner points of the compass. Over the letters, a padma, the symbol of the holiness is depicted.

Its processing also incorporates a quite unique method of gathering household leftovers. I Made Sukma Swacita, the manager of UD Kamasan Bali, said that they have indeed gathered materials like broken taps, second-hand irons, etc. Apart from helping to clean the environment, they also did not want to depend on materials that were offered to the factory.

Today, many people are already using the Balinese versions of the Chinese coins. Despite this, its presence is not suddenly a shift from the real Chinese coins. It is already four years passed but in many rituals Chinese coins can still be found.

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Funeral cremations are held in the same wondrous, bright manner as daily activities. This attitude of celebrating even sad events is well portrayed the way clothing is chosen.

Golden, colorful, brilliant, bright and sometime contrasting are the nuances of traditional Balinese attires. Even in a funeral ceremony brilliant colors should be chosen instead of dark-black shirts. The Hindu religious body often staged fashion show featuring not latest style, but promoting colorful funeral clothing, to counter the “imported” tradittion.

Indeed Balinese are taught to accept life, or death, in happiness. “Expect the best, prepare for the worst, accept the result stoically” is the golden rule that keeps Balinese smiling, in all stages of their life. Balinese express happiness and sadness almost in similar manner. Frequently during cremation periods there are parties and dances.

Uniquely, dances, songs, games and often gambling are not aimed at offending family members, rather to entertain them and put their sadness aside.

If, for example, a road accident claims a life, the family often simply accepts it as the way it goes. Instead of quarreling for compensation, most Balinese accept it as a fate.

In the past, most wives especially of Rajahs, would jump into the fire on the husband’s funeral pyre, to show their love and devotion. Before jumping, they dressed in the finest, colorful costume and make ups and smiled at celebrative mourners to show that they were happy to do this. This tradition, known as masatya or labuh geni, was abandoned since Dutch colonist banned the practice when they captured Bali in 1906.

Balinese avoid dark or black clothing as the color is often associated with black magic, evil spirit and peace disturbance. In contrast, white is believed as the color of peaceful spirit. Yellow (or golden yellow) also is a favorite as this represents God Wisnu, the preserver of the universe.

Golden yellow is the dominant color in many ritual ceremonies. Gold portrays happiness and prosperity and is color chosen to represent hope for better life. This is best portrayed in a wedding ceremony. There will be no grooms in black suit as in Western culture, instead both bride and groom are “decorated” with rather excessive golden accessories. The gold evokes prosperity for the couple’s future.

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Described here is Sanghyang Dedari, a ritual dance where it is believed a divine spirit temporarily descends to a village and reveals itself through the entranced dancers. Sanghyang is the title for a deified spirit and means “The Revered One” or “Holiness”; Dedari means “Angel”

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The girls dancing as “Revered Angels” are always underage, for a virgin child is considered holy.There are other forms of the Sanghyang trance dance as well. In Sanghyang Jaran, an entranced boy (or priest) dances on a horse, jaran, represented by a hobbyhorse. He dances around a bonfire made from coconut husks. If the Sanghyang song leads him, he dances through the fire. Mountain villages near Kintamani perform the Sanghyang Deling, where puppets dance suspended on a string between two poles manipulated by children

Sanghyang dances developed from the essential religious function of maintaining the health and well-being of the village. They are performed to exorcise evil spirits that may be infesting the community in the form of sickness or death. The boys and girls selected to be Sanghyang dancers are highly regarded bythe community and are exempt from certain village responsibilities. The feats they perform while dancing are accepted as a medium of spiritua expression, since the dancer is thought to be possessed by a deity. The Sanghyang Dedari dancers have never had any dancing lessons In normal life, they cannot remember nor repeat the motions they enact while in trance. Nor can a Sanghyang Jaran dancer normally walk on fire.

So intriguing to the island visitor, trance, as. an elevated state of consciousness, is part Balinese life and is viewed as quite natural by the people. An entranced person believed communicating with a divine presence is respected as holy and is left free to express himself under a directive influence, usually that of a priest,The Balinese are careful never to let one entranced get out of hand. There are always guardians from the village who stand by during a trance ceremony to exercise control should it be needed.Similar Posts:

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