Tejakula's Wayang Wong

On the map, Tejakula is an isolated dot midway on the dry coastal road from Singaraja in the north of Bali to Karangasem regency in the east of the island.

A few aficionados of Balinese culture will tell you that it is home to Bali's most famous wayang wong: a classical dance featuring Rama and the monkey kings of the Ramayana epic.

Yet one of the most interesting events Bali has staged recently took place there last Saturday. A theatrical performance called Persamuan Samudra Giri (Encounter of Sea and Earth) brought together itinerant artists from Java, a theater group from Denpasar and local village artists.

It took place at the Taman Seni Cili Mas, a park that houses a combination of beach bungalows and a cultural center. It was set up by Nyoman Tusan, Bali's first modernist painter, who dreamed of bringing combining the creativity of Balinese tradition with that of contemporary art.

The itinerant artists were invited by the Tejakukus Foundation of Tejakula, and the Dharma Nature Time, a Bali-based art association.

The event was particularly interesting in the way it revealed the existence of a virtually unknown layer of Indonesian cultural life, in this case, that of the itinerant artists.

The highly spiritual dance drama, wayang wong Tejakula, has its roots in a migrant community. Alpha Savitri explores this history, and the mystical tales that surround it. Kintamani is 98 kilometers from Denpasar. But so beautiful is the landscape you traverse on traveling there, the kilometers pass quickly by - especially once one enters the cool, refreshing ambience of the highland Gunung Batur area. It is the silhouette of this mountain which. forms the back drop to the village of Tejakula - a fertile, village located on the side of a hill. on the north coast of Bali. Tejakula welcomes visitors with an stounding temple. Homes and shops line the main road into town. Unlike most Balinese villages, the houses here arc tiny, and most of them do not follow traditions of Balinese domestic design.

This is unusual, for in most Balinese villages, local architectural traditions continue to be strictly upheld. Such traditions stipulate that a domestic compound must contain a family shrine (pemerajan), a master bed room where the family heirlooms are stored (bale daja), a family bedroom (bale dauh), a room for family ceremonies (bale dangin) and a rice store (jineng). But in Tejakula, only large landowners can affront such luxuries. The history of this village is one of immigration, not only by Balinese migrants from other area, but by Chinese and Persian migrants as well. Indeed ' Tejakula. was once a trading port that outstripped Benoa in Denpasar and Padangbai in Karangasem in size and fame. Based on archaeological data, it is estimated that the area has been populated since prehistoric time. Nyoman Tusan, a painter and cultural commentator and a native of Tejakula, asserts that the area has had trading links with the outside world since the first century. Many foreign artifacts, such as ceramic pots have been found in the area, suggesting that Tejakula functioned as an important crossroad where traders from all over the world came together. The original inhabitants of Tejakula were the Balinese aborigines, the Bah Mula.

This means that the people of Tejakula are not descended from the Javanese who invaded Bali when the kingdom of Majapahit began to fall in the 15th century, as are most area, the Bali

Aga people dominated the local population until the end of the 16th century. It is believed that Balinese from Blahbatuh, Karangasem and even Bangli migrated to this area in large numbers durig the 17th century. Tejakula was favored, it seems, for its volcanic, fertile earth which acommodated cultivation of rice and oranges alike, although it is difficult to know for certain why such migration took place. There is a legend, well known among Tejakula locals, concerning this period of migration. As the legend goes, a miracle took place in the village of Kulandih, in east Tejakula. A bright light with a yellowish glow began shining from this village, and could be seen from all over Bah and beyond the light is said to have struck shadows as far as China. Many believed the light to be a sign of the village's prosperity.As a result, it drew throngs of migrants; to it, including those from China, who subsequently settled there. Nowadays, one of the village's temples, Pura Sekar, as well as the regular shrine (pelinggih), contains shrines reserved for the area's Persian and Chineseinhabitants. At Pura Sekar, therefore, there arc three pelinggih: the Arab Ratu Gede Sedabat, the Chinese Ratu. Gede Subandar and the Balinese Ratu Ayu Jong Daluh. The migrants and the original Bah Mula locals of Tejakula coexist here in peace.

Even before the migrants came and settled in the area, the original Bali Mula inhabitants greed that a condition of becoming a resident of Tejakula should be the willingness to live according to certain Bali Mula 'democratic' ideals. The Bah Mula, that is, reject the social hierarchies that
characterizes main stream Balinese society in order to enter their Community, nobles must be prepared to renounce their nobility and live like jaba (literally 'outsiders', refers to the majority of Balinese who do not belong to the 'trinity of castes' brahmana, ksatria or wesya). Those who agree to these conditions would be given land. Those who didn't agree were not allowed to live in Tejakula. That is why in this village no one uses the title Anak Agung (the title for ksatria), even if they are descended from the puri (the house of ksatria). Further, it is also why 'refined', or high Balinese (bahasa halus) is not used to communicate with these people from the puri, as is the case in the rest of Bali. Cultural influences from Bangli, Karangasem and Buleleng and the force of 'democratization' in this area caused local art to flourish, for it provided the context in which local artists were encouraged to develop their ideas. But not only did such democratization contribute to the proliferation of local art forms, it also freed the artistic realm to pursue multi-faceted and contestatory interpretations of performance modes.

Thus, in a Tejakula rendition of the dance drama gambuh, a brahmana. or a ksatria may well be caste as a serf or even a servant and, conversely, a jaba actor may well be caste in the role of a king if indeed their performance skills thus allowed. This contrasts the mainstream mode of performance, in which it is extremely rare for actors of tri wangsa (three castes) descent to take on lowly roles in a traditional dance-drama. Tejakula is well known for its performance arts - gong kebyar and arja as well as wayang wong. But it is also renowned for its architecture, and in this a number of stone carvings in the village temple and some of the buildings around the town are notable. It

Is also famous for its prominence in the world of shadow pup petering. Nowadays, there are only three puppeteers (dalang) remain active in Tejakula, but several years ago the village was home to as many as eight active dalang an astounding figure given that most village only have at the most two active dalang. Indeed, a number of artistic forms have flourished in this area. But Tejakula is best known for its wayang wong. For most residents of Bali, mention of Tejakula immediately conjures an image of the wayang wong

Wayang wong is one of several Balinese performance art forms which melds dance, drama and music. Unlike the wayang kulit (shadow puppet), in which leather puppets are manipulated by a dalang behind a screen, wayang wong is performed by actors on a stage. in Bali, there are two kinds of wayang wong wayang wong parwa which adapts stories from the Mahabharata for the stage, and wayang wong Ramayana, which takes stories from the Ramayana.

In wayang wong parwa, all actors, except for the clowns, do not wear masks. In wayang wong Ramayana, all the actors are masked. Wayang wong Ramayana is generally known just as wayang wong, hereas the wayang wong parwa is usually referred to as parwa. According to the Rector of the Yogyakarta-based Indonesian Arts Institute, Prof. Dr Made Bandem, the Balinese wayang wong enveloped out of masked performances which existed in Bali prior to the arrival
of Hinduism when masks were used as a tool with which to communicate with the ancestors. The masks used to communicate with the ancestors could only be shown in public on certain days, or at religious rituals. In former times, the dancers would adorn themselves with bark and their dance was a way of thanking the ancestors for protecting thern from plague. Wayang wong is believed to have emerged around the time of the Waturenggong regime, between 1460-1550. The language used in wayang wong is Balinese or Kawi (a form of old Javanese) noble characters use Kawi and the clowns use Balinese. The Balinese have been acquainted with the Ramayana,the Indian epic which is the source of the wayang wong stories, for centuries. But the version of the Ramayana with which the Balinese are most intimate is the Kekawin Ramayana which came to the island via Java. "Although Balinese have access to other, more authentically Indian versions, the Kekawin Ramayana is the version most Balinese identify with the epic", asserted Bandem.

The Old Javanese version of Kekawin Ramayana is a free translation and adaptation of a Sanskrit poem from India, the Rawana Vadha by Bhatti, written in the 6th century The text was translated into Balinese and recorded on lontar palms, several hundred years ago. Parts of the poem are frequently translated and recited at important religious rituals on Bali, for the text is thought to contain some salient moral messages. Coincidentally, perhaps, the wayang wong has served as a medium for the preservation of the Ramayana, for today it remains as the only dance-drama form which performs the Ramayana, which tells of the war between Rahwana's giant troops, and Rama's army of monkeys. Rahwana kidnaps Sita, Rama's wife and takes her to his kingdom, Alengka. But in the end Rahwana is overcome by Rama, assisted by his army of monkeys; and their king, Hanoman.

There are 72 sacred masks in the Tejakula troupe. The three main characters' masks Wibisana, Rama and Laksamana were donated by the king of Bangli sometime this at Batur temple. Apparently, eager to test Hanoman's magical powers, the king built a two meter high hurdle and ordered Hanoman to jump, it. Extraordinarily, Hanoman succeeded in the task. The king was so impressed that he donated the three masks to the troupe. The troupe's other masks date back to the 18th century, and remain in pristine condition. This is believed to be due to both the excellent quality of the wood from which they are made and the fact that the masks regularly undergo ritual cleansing, and have so for centuries. Special rituals accompany the use of the masks at every performance. In the morning, the performers pray in the temple to ask God to protect them while they arc performing. The masks are taken out, offerings are spread around, and the performers are ritually cleansed. The masks are sprinkled with water, and distributed to the performers. Then the performers hang the masks from an orange tree. At first glance, the masks

Garuda Wisnu Kencana

Situated high above limestone and stare tour the area south of Bali, Garuda Wisnu Kencana Cultural Park is the island's art and culture that has Dewata natural background and a very spectacular panorama. With the distance 15 minutes from the Air Port , GWK to be one of the main goals for various art, exhibition and conference visits or visits relaxed even spiritual

Area of 250 hectares of this embrace of art and culture activities, the performance and services Tata Boga. As the palace-castle Bali in antiquity, the visitor will see the GW K monumental grandeur and spiritual all of which enhanced with a touch of modern facilities and services in the right order. Notwithstanding you come as part of the thousands of visitors a cultural event or to enjoy a self light meal and a drink while witnessing the sun, you will experience the beauty of nature and culture of Bali.

Vishnu - Hindu symbol that symbolizes the strength of the main custodian of the universe that dominates this area. Realized as a huge sculpture made of brass and copper with the height reached 22 meters, making this figure as the embodiment of a modern culture and ancient tradition. Existence of them is Garuda - a bird which is the vehicle of Vishnu as a god omen freedom at a time without the dedication intention.

Stone gate - some fruit cadas natural stone pillars at 25 meters that stood firmly will be chiselled various ornaments taken from the dramatic story of the Ramayana which is the source of performance art inspired by Bali. Bas-relief carvings background figured sculpture of the puppet story (Kayon or gunungan) which is very typical Bali and Java



Close to the statue there is a god Vishnu Parahyangan Somaka Giri, a sacred spring from which water flows to the uterus major minerals. The existence of water on top of the hill limestone padas this is indeed a miracle and can not explain with science, so that makes the place a visit and spiritual meditation.



Water can be trusted to cure various diseases and has been used be knowledgeable in local ceremonies to invoke the rain to get a good harvest. The existence of Parahyangan Somaka Giri very instinctive move someone seeking enlightenment in the mind, born and inner


With the rainfall is relatively low but may be open to enjoy the tropical breezes blowing, GWK owned facilities to be very ideal. Amphitheater with a seating capacity of 800 and class order acoustic one, which is unbeatable for The art and culture. Lotus Pond is surrounded by stone pillars and background stone statue of Birds Garuda the area with 7500 people for this very dramatic in the various Show. As the ceremony arena villages in the South Street Theater is a place that is ideal for a variety of procession, fashion show and moving performance. Places to hearted is the ideal Plaza Kura-kura ( turtle ), who has the capacity to 200 people. In addition, open to the public, the Exhibition Gallery which had an area of 200m2 located 10m2 page opens in it.


A number of cafes and restaurants provide a complete system Boga, from snacks, light meals and banquets. Services On-site catering is available able to serve until the 2000 portion, with a variety of dishes indonesia, Oriental or International cuisine that can be tailored to the theme and location.

Nusa Lembongan

Nusa Lembongan Island lies near the popular Bali Island. The distance of the island from Bali Island is near about 12 miles and it is quite negligible. Travelers easily reach the Nusa Lembongan Island from the Bali Island and enjoy the beauty of the Nature. People living on this small island are following Hinduism and Buddhism religion mainly. Bahasa Indonesian language is spoken by the people living on the island. Although the island is small and population density is low but then also travel and tourism industry is blooming.

Nusa Lembongan is one of the small island of three small islands located in the south-east Bali, namely: Nusa Pedida, Nusa Lembongan and Nusa Ceningan. Group of three islands that are part of the Regency of Klungkung separated from the island of Bali with the Badung. To reach Nusa Lembongan, Bali's must cross the strait from the small port of Padangbai - or from Karangasem Bali - Denpasar tempuhnya time with about 1 - 1.5 hours with a cost ranging from 25,000 to 50,000 with the public boat.

Unlike in Kuta, Tanah Lot, Dreamland .. sesampainya in Nusa Lembongan, you will be greeted a white sandy beach with crystal clear sea with a variety of colorful fish and coral trumbu beautiful and rich colors ... nature that is still "virgin" who has not left by the hands-nothing, but still even though there is naturally equipped with several facilities that is ready to spoil you, such as: hotel / bungalows, a restaurant, where art, objects to the sea for diving tours and witness the Terumbu The beautiful coral in it.


The following pointers describe about Nusa Lembongan Island:

1. Nusa Lembongan islands are suitable place for spending comfortable vacations without any hassle. Dazzling beaches attract large numbers of people from different parts of the country. Weather conditions are excellent and island receives bright sunshine and it gives the opportunity to enjoy the beach life with unlimited fun.

2. Pleasant climate makes it favorable for the travel and tourism. Many travelers enjoy the sunbathing on the beaches. Travelers use to visit the beach in the favorable climate and beaches are busy in the peak season. Travelers use to visit the island with their partners and spend romantic vacations on this island and even family vacations are also popular on this island.

3. Lodging facilities on the island make your visit comfortable and quality of food provides you with the utmost pleasure. You can enjoy the beauty of the island and can party hard. It has vibrant nightlife in which people enjoy dance and music along with drinks and delicious food. Food and drinks offered to the visitors are of excellent quality. You can choose delicious food prepared in restaurants according to your preference for enjoying the breakfast, lunch and dinner.

4 .Beach lovers like to enjoy the recreational activities and facilities of sports and games provided to the tourists on the beaches. Beach side sports and water sports such as volley ball, surfing, scuba diving etc. are liked by travelers. The islands can be compared with the paradise because of its extraordinary beauty which attracts travelers from far land.

You can book the cruises and flights for reaching the island according to the budget. Travel agencies can even help in providing facilities to the travelers at low prices

Ngaben Ceremony - The way to the "Afterlife"

Balinese Religion is based on respect for and worship of God and ancestor. It is believed that after death, the body must be dissolved and returned to its original elements. Ngaben, the Balinese word for cremation is a purification rite which frees the spirit from its temporary earthly house and facilitates its journey to its next existence.

Ngaben is one of Hindu’s great ceremony in Bali where the corpse is burnt, accompanied by holly songs and offerings. Hindu’s believe that ngaben will return the soul of a dead person to their abode in heaven or send the dead through a transition to his next life. Ngaben is also a form of a respect to their parents by releasing the soul from worldly attachment. Families that conduct ngaben ceremony generally try not to cry at the grave yard since they believe that tears would only incommode the deceased journey to their eternal abode.

It is a custom and part of a tradition in Bali when someone dies, the whole villager (where one was lives) will help with the preparation for the cremation. The dead body is laid out in a special part of the house to be bathed and prepared. The night before the cremation, holy water will be collected from some main temple and used in preparation of the body and during the cremation. The entire villager (but especially for family and relatives) will participate on the day of the cremation ceremony. Before the body cremated at the cemetary, it will be placed into a wadah, after at the cemetary, and then they body of the deceased is placed inside a coffin which is then placed inside a form of a lembu (cow) which believes to be the vehicle of the spirits, made of paper and light wood. It will be carried to the village cremation site (usually in the village cemetery) in a procession. The ultimate procession is to burn the Wadah, using fire from a holy source.

the-preparation-before-burning.jpgFew days before the climax ceremony, the family would consult the “dewasa” (good day) to a priest to determine the proper day to conduct this ceremony. The process began by built a stage as a place for nyiramin (bathing the corpse), made a lembu (a buffalo shaped sarcophagus where the corpse will be put into and burnt) and wadah (temple structure made of paper, bamboo and light wood). This lembu will be carried to the village grave yard in a procession.

Before climax ceremony, all family members will give their last respect and begun to pray in order the deceased will somehow get a better place in heaven. Afterward the corpse will be put into wadah and carried to graveyard, followed by flock of people and gamelan (Balinese traditional music) and “kidung suci” (holy mantra). In front of the wadah, there will be placed a long piece of kasa (white cloth) heading the ways of the deceased soul to reach their eternal abode.

Ever past T-junction or crossroad, wadah will be turned clockwise three times in order the soul will not return to his or her home. Arrive at the graveyard, the corpse then will transferred to lembu, followed by mantra chanting by the priest and the lembu will be burnt and it ash carried to sea or river. When all ceremony had been completed, the deceased considered as ancestor, who believed will reincarnate into their family.

When all the procession has done the ashes are placed in the sea, and it is the final separation of the soul from the body.

Bali Aga - The Origins of Bali

The original inhabitants of Bali are said to have come long before the Hindi-Javanese immigration wave, from Bedulu village. The legend is, there lived the last king of the Pejeng (an old Balinese kingdom), Sri Aji Asura Bumibanten, who had supernatural powers. He could cut off his head without feeling pain and put it back on again. One day, though, his head accidentally fell into a river and was swept away. One of his servants, panicked, decided to quickly decapitate a pig and replace the king's head with the animal's head. Embarassed, the king hid in a tall tower, denying anyone to see him. However, there was a small child who discovered the secret and since then, the king was known as Dalem Bedulu, or He-who-changed-head. A more scientific reason is the theory that it comes from the name Badahulu or "the village upstream". After the Pejeng kingdom, the Majapahit Empire rose to power.

The Bali aga live in isolated areas in the mountains. Tourists wishing to visit certain villages must take care in not putting themselves in danger due to the geographical circumstances. While visiting, it is also important to be respectful and quietly observe the preserved way of life the Bali aga have.

The Bali Aga speak a dialect of the Balinese language that is entirely their own, dating back from thousands of years. It varies from village to village, where the one spoken in the Tenganan village is different from the Trunyan village.

An important part of Bali Aga culture is the unique weaving skills found especially in the Tenganan village, called geringsing. Geringsing consists of an intricate ikat technique, where patterns are applied in such a way that it only appears when completed. The geringsing threads are dyed and cross-dyed until they achieve a color that is often mute. The villagers believe the geringsing to be sacred because of its ability to drive away bad spirits, or black magic. Gering means decease and sing means no.

There are two major bali aga cultural groups in bali, Trunyan and Tenganan

1. Trunyan Village

The mountain village of Trunyan is located at the foot of Mount Abang, at a remote and isolated location on the eastern shore of Lake Batur. The Trunyanese are often referred to as Bali Aga (mountain Balinese), a classification which refers to a conservative, pre-Hindu way of life with ancient, neolithic customs and a conscious avoidance of outside influences.

As the term "Bali Aga has acquired a negative connotation, the term Bali Mula, or 'original Balinese', is often used instead. However, the Bali Aga are in no sense 'original', while the term 'Mountain Balinese' is, from a historical perspective, completely apposite. The Bali Aga namely have always occupied their ancestral villages from choice, and performed their traditional crafts and trades appropriate to the nature of the land.

Trunyanese society has two 'castes', the banjar jero and the banjar jaba. These castes are not based on the Hindu ideas of purity, but are instead determined by descent during the period of the Gelgel dynasty. This caste system is an important example of when outside influence actually did affect the life of the Trunyanese people, for those belonging to the banjar jero are the descendants of rulers, id est the Trunyanese who were appointed by the kings of Gelgel to rule, and those of the banjar jaba are the descendants of the people, id est those who were ruled by the banjar jero.

Another example of outside influence is the requirement for their young men to travel through lowland Bali for a time to live as beggars. This little known practice, reminiscent of the itinerant monks of Thailand, derives from the strong Buddhist tradition of the area a thousand years ago.

Funeral rites of Trunyan - Contrary to elswhere in Hindu Bali the Trunyanese do not cremate their dead. Instead, after a ritual cleansing with rain water, the body of the deceased is placed in a bamboo cage under the taru menyan tree until the forces of nature, in particular the wind, has dissolved the body tissues and only the skeleton remains. Then the skull is placed on a stairs-shaped stone altar which is located some 500 meter north of the banjar Kuban, a special place which can only be reached by boat.

This ancient practice is a reminicsent of the neolithic Agama Bayu sekt, one of the six most important religious-spiritual sekts that dominated Bali during pre-Hindu times. This Agama Bayu sekt mainly worshipped the stars and the wind (angin ngelinus).

Taru Menyan translates as 'nice smelling tree'. The typical scent this tree eminates, neutralizes the smell of rotting bodies. It is also this tree from which the name Trunyan is derived.

Furthermore typical for the funeral rites of Trunyan is that only the bodies of married people are placed in bamboo cages; if the deceased is unmarried, the body is normally buried at the cemetry.

Also typical is that women are not allowed to attend the Pengiriman ceremonies, the bringing of the body to the taru menyan tree or to the cemetry. The reason for this is the belief that otherwise the village will be struck by disaster, such as an earthquake, a volcanic eruption, or a land slide. How and when this rule came into being however is not clear.

Bhatara Da Tonta - Since long forgotten times Trunyan has been worshipping an ancient, local god connected to the Batur volcano and patron guardian of the village, Ratu Gede Pantjering Djagat - also referred to as Bhatara Da Tonta. In a for outsiders forbidden, underground space is an enormous, neolithic statue of this Bhatara Da Tonta. During special initiation rites of the village flowers are offered here and the statue is ritually cleansed with rain water and a special oil, precisely as instructed on an old bronze tablet (911 AD) that was found in the mysterious Pura Tegeh Koripan, a temple built in the form of a neolithic pyramid at Mount Penulisan, the second highest point of the caldera of the Batur volcano.

Music and dance in Trunyan - like elsewhere in Bali, the performing arts are associated with religious ceremonies, and are a means to maintain a balance between the visible, physical world and the non-visible, multi-dimensional worlds. The Berutuk dance of Trunyan is an excellent example of a performance that is strongly associated with religious rites and supernatural powers

The berutuk dance is at once performance, ceremony, and rite. The performers are a selected group of unmarried men who must undergo a period of ritual purification and isolation prior to performing. During this time they sleep in the temple, abstain from sexual contact, and learn the prayers for the ceremony from the temple priest. The Berutuk performers wear sacred masks and two aprons of dried banana leaf fiber; one is tied around the neck and hangs over the torso and the other is tied around the waist. There is no musical accompaniment for the performance.

Berutuk reenacts the historical legend of the Trunyan migration from the other Bali Aga areas in East Bali. However, this is not a mere dramatization. The Berutuk performance requires the purification of the actors and appropriate offerings and prayers which will allow the young men to be possessed by Bethara Berutuk. At one point, the Berutuk are presented with offerings and members of the audience barter with the Berutuk in order to take part of the offering. In addition, the banana fiber costumes are now charged with powerful magic and spectators attempt to steal bits of the hanging fibers which become protective amulets.

The king and queen Berutuk engage in a courtship dance inspired by the movements of a bird common to the Trunyan area and the queen must be successfully captured by the king in order to ensure the fertility of both the village of Trunyan as well as that of the performer himself. Only after the performance will the young men be eligible for official marriage. The performance ends after the queen is captured and the dancers bathe in the sacred Lake Batur.

The performances happen at irregular intervals depending on the needs of the villages and require that the village not be tainted, for example, by plague or crop failure.

The performers are not trained in the movement of the Berutuk but in the necessary prayers. It is not the dance technique but the selection and ritual preparation of the dancers that is important, as they will become temporary vessels for the Bethara Berutuk: Ratu Pancering Jagat. Thus, the performance places an emphasis on the ritual readiness of the performers, not technical training. It is a recounting of legendary history, a fertility rite for both land and humans, a passage into adulthood, and a time when the spirits enter humans and the tumultuous interaction between performer and audience mimics the interaction between the human, spirit, and natural worlds.

2. Tenganan Village


Tenganan is a small village in Bali which has its own unique. It is located in a remote area in Karang Asem Province. To be able to reach this place, you must take ground way which is around 60 km from the center of town Denpasar, Bali. This village remains traditional because it can survive from the globalization era caused by advanced technology. Even thought the media and the electricity facilities already exist in this area but they still uphold their nature culture so it remains the way it used to be, which is exotic. It is unchangeable because the local people have a traditional custom regulation which is called “Awig-awig”. This custom had been written down since 11 century and already renew in 1842.

This village spread around 1500.000 ha width. When the tourist spot expanded rapidly in Bali such as Kuta beach, Amed beach this place becoming more prestige by the present of hotels, beautiful beaches, cafes and the night life. Tenganan village still remain unchangeable, even though the era keep on changing it still held its 3 old meeting houses which are worn out and the grid traditional houses which has the same feature physically one to another. The heritance of the villagers in this place are being well taking care of by marriage among them. Therefore this village remain traditional and exotic even though the community of Tenganan excepted outside culture, but it still unchangeable because Awig-awig culture regulation that play as an important part to the Tenganan villagers community.

The history of the village of Tenganan expressed in some version, first version mentioned that the resident of the village of Tenganan comes from the village of Paneges, a near one by the field of Bedahulu in the regency of Gianyar, second version it express that they write up Tenganan recognized in one of the inscription of Bali with the Tranganan word, ter expresses that the resident of the village of Tenganan requests to the temple of Bukit Lempuyang that overcomes the coast from Crystalized Dasa to the east near 10 and century 11. The word of Tenganan attributed by a word by the root of Tengah that can mean to aim at the center of Pegringsingan, representing the type armor of the cloth to typically hold the product of the resident of the village of Tenganan. The structure of the resident in the village of Tenganan is constructed in the ray consisted of linear seize, each ray consisted widely of some turf, forms the building that the relative, existence of the store of the art has altered original the some types of the resident. All the existence of the tradition of the one of the harmonious human being with the God, of est human with est of the human being and est human environmentally like according to the concept of Tri Hita Karana. The destination of the tourism of Tenganan remains to draw during the time, the quality like cultural object of the tourism, the nature of the tourism and the tourism of agriculture.

This village has a unique entrance gate. To be able to enter this village, the visitors have to pass a ticket-counter; it’s not a must that we pay, because the amount of the money that you give as a voluntary donation to the ticket officer who guard the ticket-counter. It was built Semi permanently. Before entering this village, the visitors have to pass a narrow gate which is enough to be passed by one person. The income of the villagers can’t be measure because they still use the barter system among them. Over here there are plenty of trees, rice field; buffalos which are set loose in front of their yard.

Pegeringsingan is place to learn patience to girl village to weaving thread to be traditional woven cloth. That is geringsing cloth? In afternon we find girl hand of midle tenganan smeared of yellow candlenut oil and sunti nusa penida red root. Be a patience wait till it dry, a couple minute they are will make a cloth with their creative hand. Yes, both of their hand dancing embroider and weave thread whom their coloring don’t hurry so be a nice motif. This is geringsing cloth whom was weaved with pantience in heart.


That girl was weave cloth to refuse a disaster. That cloth whom always take care your self from disaster. Until now geringsing still look sacred. If “gering” mean sick and “sing”mean no. their belive geringsing take away tanganan villager from disaster.

love in kilometer sixty five from city centre limited also. So don’t try maried with another villager. Hai tenganan boys if your love posible to hold with girl from another village, consequences waiting you. there in “banjar pande” will be place for your love becouse your love in opinion public is disreputable because conflict the rule of village, but be you out from ritual tradition and religion.nyou still give right and obligation for doit the ritual.


Beside that the most performence is “Mekare” or “Geret Pandan” or “Perang Pandan” Tenganan People Belive was there is India descent. The belive that as though proven with team research Indonesian and swiss scientist on 1978

from genetik research who do with 18 people Tengangn. And get same enzim between their with people from calcuta, india. This matter was affirm with same ritual between Tenganan people with India People. Even geringsing cloth is one of characteritic of Tenganan People also same with with pantola cloth from india.

One of cultur to be affirm they was people hindu sekte “Dewa Indra” in india. Looking from ritual, they respect with god of war. One way is “geret” or “perang Pandan” Where the boy that village run peace fight using a tied pandanus. Two boys mutualy scratch to opponent body.

This ritual their run every year in fullmoon number five in balinese calender at Sambah Holiday. Pandan fighting doing for respect to Dewa Indra, a God of War. Be Dewa Indra Follower Tenganan People Belive There is war knight descent.

Traditional perfoment “mekare” or “Mageret Pandan” it mean scratch or hook with thorny pandan leaf . this sacred sport performed every once year in tenganan pegringsingan village on “Usaba Sambah Ceremony”.Pandan Scratch to opponent Body doing while hook until they body hurt and bleeding. The lose player is not revenge but they satisfied and respected becouse they have opportunity to offering “yadnya’ in that ceremony.

How to paly “Mekare” did by Tenganan People in yard of “Bale Patemu Tengah. The Player is teenager and adult not limited from that village but from another village also. Mutualy scratch did one way, that mean one by one.

Skill in this game is atack and dodged. Atack with scratch or hook opponent body with a tied pandan. One tied have content is five leaf with tall 30 until 40 cm in hold part the trorn. The part of body must atack is neck and waist usualy in back.

Avoid the atack with “mekelid” or repulse with “tamiang”.the shape is circle with line in the midle round about 45 until 60cm.Tamiang made from “ata”.the frame in out side circle made from rattan in order easy to hold in the back side set both of hollow tied to put in the hand and hold it.The hollow tied set in right and left of back tamiang with distance around about 25 cm. the performance lead by one or two refere. They duty is give a sigh and breack up the fight if the both player wrestle.game finish if one of player giveup or stoped by refere, couse see serious hurt or much bleeding . The game is intresting. Together with selonding made sacred performance. Player atacking with wild and try to hurt the enemy, but peace in the end. Even they mutualy smeared with “Boreh” ( concoction heal ) at the hurt.

Nyepi - Balinese Silent Day

The Balinese Hindus use two kinds of calendar systems, the Saka calendar system and the 210-day Pawukon system. The Saka calendar is a lunar system and each of the 12 lunar months ends on a new month. The calendar begins the day after the new moon that ends the ninth lunar month. This always coincides with the Gregorian March. The Balinese Hindus 'celebrate' the coming of the new year of saka calendar in silence, which is called Nyepi Day. The Saka year numbering system is 78 years behind the Gregorian year. The Saka calendar came from India.

Several important ceremonies precede Nyepi. Two or three days before, apurification ceremony (melasti, mekiyis) is held across the island. Balinese is full ceremonial dress will replace half-naked sunbothers on the tourist beaches as they perform ritual purifications of religious paraphernalia such as the umbrellas, statues, speras and other sacred objects kept in home or temples.

In Balinese Hinduism, the relinquishment is accomplished into several parts of worship. There are four rules known as Catur Brata Penyepian which guide the Hindus to refrain a while from worldly and physical activities.

First is the principle called Amati Geni. People are not allowed to set lights and fire for the whole day, that includes not burning or setting a stove on, and they can’t cook for meals. Along with this purpose, they abstain from eating and drinking for 24 hours. In deeper reflection, this symbolizes turning the fire off in the five senses of the soul, along with any unscrupulous emotions. It brings up the other sensitivity from within one’s spirit, and it enhances the quality of life.

The other actions of turning down corporal dealings are; not doing any work at all which is called Amati Karya, not going anywhere (Amati Lelungan), and avoiding any entertainment forms (Amati Lelanguan).

On Nyepi Day, the Hindus stay at home, but they are not supposed to listen to the radio, watch TV, speak to each other, answer telephones, or take in guests. Instead, they should lay and meditate in darkness, or have prayers at their own pura called merajan (little house-shrine in the front part of the home) to work out on the inner part of their spiritual life.

It is very quiet on the street and it is impossible to go anywhere even for other communities who are exempt from the rite. The Ngurah Rai International Airport and all harbor accesses to Bali are closed. The airport will only allow overfly flights, transfer, or emergency landing, while public services such as hospitals and transportations for the sick and other emergency cases will be on the restricted judgment of village chiefs.

As a lot of visitors could not do anything else in the island, they will have to stay in the hotel and find their own activities day.



The Hindus in Bali are strongly religious. All ages, except babies seem to be wholeheartedly bound to the observance of the prayer. Women wear kebaya and have their hair twisted while men appear in white with udang (traditional headdress) on their head. They will march under golden yellow sunshades which are meant for ritual ceremonies.


To set up the execution of Catur Brata Penyepian, all figures of worship and sacred utensils must be cleaned up to the oceans in Melis or Melasti ceremony. Upon the cleaning, Melasti is aimed to wash up human soul from dirt and sins. The Hindus believe that it is the power of nature that will take all the agony and refresh the soul. It is important to sip something from the ocean, that ocean is full of waves, just like the world life, where humankind should find the essence of life from within.

During melasti ceremonies, visitors are encouraged to come to the beach from midday onward. This is not a time for swimming, sunbathing or surfing but it is the best time for visitors to witness one of Balinese's bigest purification cerimonies and provides irresistible photo opportunities. Visitors are respectfully requested to wear sorong and a waist sash. Since most streets to the beach around Sanur and Kuta are busy with processions, it is advisable to ether come before the processions jam the roads or shortly after they arrive on the beach.


Although ogoh ogoh can be seen from time to time as part of festival and dance performances, the ones made for the ngerupuk cleansing ritual are very special. Constructed around a bamboo frame, the effigies are stuffed with coconut fibre, animal hair, and sometimes with styrafoam. The outer skin is finished with glossy acrylic paint or with some form of fur depending of the caracter that they portray. Ogoh ogoh characters can be taken from Hindu mythology and sometimes from a contemporary figure that is considered fit to symbolize evil spirits, like a bomber. They are colossal in scale, can be between 2-3 meters high and very dramatic. It could take 2-3 weeks to make one. the ogoh ogoh are carried around the villages in a noisy parade full with torch-light. This act is believe to pacif evil spirits or other destructive force.

As a religious event of Balinese Hindus, Nyepi is a symbolical replay of these philosophical principles. The world is 'clean' in the beginning of the year. The Balinese Hindus do not celebrate the new year with lavish party, instead they celebrate the coming of the new year with meditation. No activities are allowed to take place. These mandatory religious prohibitions include no pleasure (amati lelangon), no traffic (amati lelungan), no fire (amati geni) and no work (amati karya). These prohibitions aim at controlling oneself and submission to God. Everybody has to stay in the individual houses. No lights in the house, no sounds of radio and no works, just keep silence. It is totally silence.

The anti-climax of the meditation is on the following day, which is called Ngembak Geni, where the people are happy and bless their success of controlling themselves. It is also the day of get-togetherness and family gathering.

Tirta Empul Temple

Bali has been known as the island of thousand temple. There Besakih temple is the largest temple in Bali, Pura Uluwatu Uluwatu in the area and many more. Including this one temple. In a way to Kintamani, we will stop in the State Palace Tampaksiring first. Just below the palace of Tirta Empul this temple is located.

Tirta Empul means holy water in a squirt from the ground.

This temple is located east of the Palace Tampaksiring precisely. The story originally comes from a stone inscription that is still stored in the Village Manukkaya the temple was built by the Consort of Sri Candra Bhayasingha Warmadewa in the Manukaya. Inscription this year include the number 882 caka (960 BC). Here there is a spring which is very large, which until now dikeramatkan by local residents.

The withdrawal ostensibly others in Bali, this temple has 3 parts, which is ostensibly jaba (front page), jaba tengah (middle of page), and viscera (in part). In the Middle Jabe pond there are two square long, and the pool has 30 fruit spray that line from east to west facing south. Each shower was traditionally have a distinctive, including a shower pengelukatan, pebersihan sidamala, and shower cetik (poison).

Shower cetik (poison) and the name Tirta Empul related to mythology, the king's dissolution Mayadenawa Anyar Stone (Bedulu) with Bhatara Indra. In metologi was told that the king Mayadenawa be arbitrary and do not allow people to perform religious ceremonies to invoke the salvation of God. After the act was known by the gods, the gods, led by the god Indra Mayadenawa attack. Finally Mayadenawa can be defeated and fled, and So on the north side of the village appears to Siring. With kesaktiannya, Mayadenawa create cetik springs that cause many of the paramilitary troops Bhatara Indra killed as a result of drinking water tersebut.Melihat this is the right stick Bhatara Indra spear and forth from the water in the soil. Tirta Empul this spring and used to sprinkle the troops of the god so that some do not survive long again as usual. Metologi this may have influence with the king of Majapahit to Bali. Gajah Mada expedition Patih from the Majapahit kingdom that came to Bali in the year 1314 is described as Bhatara Indra and Sri Bhatara Astasura Bhumi Banten and the rule in Bedulu described as king Mayadenawa. According to local folklore, metologi Mayadenawa also associated with the feast day Galungan that fell on Wednesday Kliwon Dungulan. Galungan is the symbol of the struggle between Dharma Adharma, crimes against the truth. Coincided with the feast day Galungan all sacred Barong dance art from villages in the district of Gianyar dimandikan with holy water Empul Tirta. Barong is symbol of goodness.

The whole area around Tirta Empul and the place itself is so peaceful and unassumingly attractive. A spring, the most famous in Bali, at Tirta Empul gushes from an area in the ground which is encased by a wall inside the sanctuary. The water at Tirta Empul is considered to be the holiest on the island, and to possess ‘miracle’ healing powers. During the festival of Galungan, dance groups from all over the island come here to have their Barong masks purified with the holy water by a priest who is the only one allowed to obtain the water from the spring. A large complex and one on the ‘tourist track’, it is advised you arrive well before midday. In the early morning light, the complex has a magical and mysterious atmosphere.




Melukat

The ritual aims at cleansing the devotee's body and soul from both self-inflicted impurities and negative influences from outside sources. To some extent, the ritual also recharges a person's spiritual strength and enthusiasm.

The ritual consisted mainly of the recitation of a special mantra by the high priest. The mantra had elements of an exorcism, invoked by the high priest to cleanse the devotee's body and soul from various evil forces, including black magic. The final parts of the mantra were devoted to the adoration of the deities' mighty powers. The high priest closed the recitation by imploring the gods to bestow their grace and protection on the devotee.

Grace was symbolized in the ritual by the sprinkling of holy water and the consumption of the consecrated rice of Bija. Protection was granted through the Karawista, a head band made of strips of Ilalang grass (Imperata cylindrica), a green leaf and a red flower.

Karawista is a symbol of Omkara, the most sacred and powerful letter and sound in the teachings of Balinese Hinduism. The Omkara stands for Almighty God's powers of creation, preservation and annihilation,

Ilalang grass is be the only earthly object that has experienced direct contact with Amrta, the Elixir of Eternal Life. The contact has given Ilalang grass immortality and ultimate power against dark forces.

Calon Arang Dance

Calon Arang is usually known as a wicked witch. Pramoedya Ananta Toer rewrote the story for children, lending prominence to the conflict between evil, represented by Calon Arang, and virtue, Mpu Baradah. Contemporary interpretation, however, has put Calon Arang in a different perspective. Famed poet Goenawan Mohamad, for example, sees Calon Arang in a conflict between the central and marginal. Calon Arang is the marginalized figure in the Kingdom of Daha.

The story, set in the 11th century, tells that in Dirah village Calon Arang has a beautiful daughter, Ratna Manggali. Ratna cannot find a match because people are afraid of her witchcraft. Fruitlessly waiting for a young man who will propose for the hand of her daughter, Calon Arang becomes furious and asks Batari Durga, the Hindu goddess of destruction, for permission to destroy the villagers for ostracizing her.

Durga grants her wish and calamities befall the village of Dirah. Reports of these calamities come to the seat of Daha Kingdom. The king later instructs Mpu Baradah, the best priest in the country, to deal with the matter. Baradah sends his pupil, Mpu Kebo Bahula, to Calon Arang to propose to her to marry Ratna Manggali. So to speak, Bahula gets married with Ratna. Later, Bahula asks his wife why her mother always goes out at night. She tells him all and finally gives him her mother's magic book. Bahula gives the book to his master and this brings the doom of Calon Arang.

The priest sent his son to ask for the hand of Ratna Menggali. Calon Arang was pleased by the offer. The plague subsided, and the couple wed.

Calon Arang had in her possession a lontar (palmleaf book) of black magic teachings. Her son-in-law one day found it and gave it to his father, who then deciphered the formulas to the widow's secret powers. When Calon Arang discovered Mpu Bharadah had learned her secrets, she was enraged and declared war upon him. The priest had no choice but to fight and, in a deadly struggle of sorcery, destroyed the widow by casting a spell. Before she died, Calon Arang asked forgiveness. Mpu Bharadah absolved her deeds and showed her the way to heaven

The story has many variations, and no two Calon Arang plays are exactly the same. Essentially, the play is a drama of magic that serves as a powerful exorcism of evil spirits aligned with the witch-queen Rangda. By dramatizing Calonarang as Rangda atthe heightof hermagical powers, it is hoped the performance will gain the witch's favor and appease her appetite for destruction.

Other;Dissimilar story which also often presented in drama dance is Basur story, a folklore which is very popular among Bali society. Because at some part from it show present the scene try a fall and impenetrability ( modelling scene of death bangke-bangkean, jabing rangda with the cold steel freely) hence Calonarang is often considered to be a show of the impenetrability ( mind ).

The core of this drama dance represent the solidarity from three important element, namely Babarongan deputized by Barong Ket, Rangda And Celuluk, Pagambuhan element deputized by Inclineing, Putri, Patih Manis ( Panji) And Patih Keras ( Pandung) and Palegongan deputized by Sisiya-Sisiya ( pupils).

The other Important figure from this drama dance is Matah Gede and Bondres. Because the performance, dramatari always entangled with Barong Ket, Calonarang is often compared to Barong Ket. Calonarang show usually accompanied by Gamelan Semar Pagulingan, Bebarongan, and also Gong Kebyar. From the facet of staging place, Calonarang show usually conducted near the grave ( Pura Dalem) and its staging arena is always provided with a high hall ( trajangan or tingga) and papaya tree.