Bali Diving

Pigmy Bali Diving offers some of the joyful and unforgettable diving in Bali waters for the divers around the world. Bali offers beautiful corals with many species of fish from colorful fishes, reef sharks to Mola Mola or sunfish, manta rays and steep walls full of color and beauty plus a unique shipwreck in a flourishing tropical marine life. Generally, Indonesia including Bali has good diving in both seasons (wet and dry season).Many creatures can be found in Bali waters, from nice soft & hard corals, many varieties of Indo-Pacific marine fishes and its a heaven for photographers.

Kebyar Duduk Dance

Like the Baris, the Kebyar is a soloexhibition dance, but of a more individualistic kind. The Baris portrays the movements of a generalized Balinese warrior. In Kebyar, the accent is upon thedancerhimself,who inter pretseverynuance of the music in powerful facial expressions and movement. Kebyar originated in North Bali around 1 920, but the man most often credited with its creation is the late Mario, a dancer whose superb performances of Kebyar remain unparalleled.

The most popular foftn of Kebyar in South Bali is Kebyar Duduk, the "seated" Kebyar, where the dancer sits cross-legged throughout most of the dance. By de-empasizing the legs and decreasing the space to a small sphere, the relation between dancer and gamelan is intensified. The dance is concentrated in the flexibility of the wrist and elbow, the magnetic power of the face, and the spppleness of the torso.


The music seems infused in the a dancer's body. The fingers bend with singular beauty to catch the light melodies of the metalphones, while the body sways back and forth to the resounding beat of the gong. As the dance progresses, the dancer crosses the floor on the outer edges of his feet and approaches a member of the orchestra, usually the lead drummer. He woos the musician with side glances and smiles, but the drummer is too absorbed in the music to respond. Insulted, the Kebyar dancer leaves him and sets out for a new conquest. The Kebyar is the most strenuous and subtle of Balinese dances. It is said that no one can become a great Kebyar dancer who can not play every instrument of the orchestra; for to attain perfection, all the moods of the music-lyrical, idyllic, dark, ominous- must be reflected in the disposition and skill of the dancer. In Kebyar Trompong, the dancer actually joins the orchestra by playing a long instrument of circular knobbed kettles called the trompong, as he continues to dance and twirl the trompong sticks between his fingers.

Balinese Drinks

Balinese Drinks
Tuak, arak and brem are the main Balinese home brews:

Tuak
Tuak is made by cutting the undeveloped flower of either the coconut or the sugar palm tree. You then collect the sugary liquid that exudes into a bamboo container and ferment it. Fermented palm tree juice is drunk all over tropical Asia, Africa and America. It is the "toddy" of English colonialists and is drunk in the innumerable small warungs all over the island. It has about the same alcoholic content as beer.

Brem
Brem, pronounced "brum", is rice wine. It can be bought commercially, but ours is home made. Like arak, it is used in almost all ceremonies. It is a pleasant drink and can be drunk neat, over ice or mixed with arak. It is sweet and is made from glutinous rice or sticky rice (as it is also called). The rice is cooked for hours. Yeast is added. It is then allowed to ferment for three days, whereupon the brem drains into a pan. There are commercial factories, but the taste is not so good. It is not exported.

Arak
Arak is distilled tuak. It has a much higher alcoholic content and is colourless. It has a very sharp, biting taste. Since there is no fermentation, it can be bottled and sold. As the taste is unpleasant, the Balinese mix it with spices. It can also be added to coffee or mixed with brem. Arak is used as an offering in religious ceremonies. Having no sugar content, arak will keep indefinitely, unlike tuak. It cannot be a coincidence that the Mongols made distilled liquor called airak.

Balinese Wine
In the last few years, local wines have been produced, using Australian grapes. There is red, white and ros�, grown and bottled by two companies, Hatten and Wine of the Gods.

Spices
The Balinese use a wide range of ingredients. Instructions on how to prepare them are contained in the article entitled Balinese Recipes.

Bali Foods

Real Balinese food is not readily available to tourists unless a Balinese family invites the tourist to a meal or he goes to a temple. Restaurants catering for tourists do not serve authentic Balinese dishes, nor do hotels. The reason is that
there is too much preparation, large quantities have to be prepared and it has to be eaten when it is fresh. It is often spicy and very tasty. The Balinese traditionally used banana leaves as plates.

Balinese chickens are much healthier and have the taste of real chicken, but can be tougher than Western battery-fed chickens. Battery-fed chickens only live for 41 days, specially and artificially bred to produce large chunks of breast and short legs. The rush is now on to reduce the period of 41 days.

Etiquette
There are a number of rules concerning food, drink and behavior. Cake is always served with coffee or tea, nuts and krupuk with rice wine, and tea, water or tuak with the meal. The host does not usually eat with guests

The Balinese eat with their right hand, as the left is impure, a common belief throughout Indonesia. The Balinese do not hand or receive things with their left hand and would not waive at anyone with their left hand.
Famous Balinese dishes
Famous Balinese dishes are:

Lawar
traditionally cooked by men, who chop up strips of turtle or mango or coconut, add various spices and mix it with uncooked blood, so that it is red.

Babi Guling
roast suckling pig is a great favourite amongst the Balinese, although the pigs are usually too old to be suckling - from three to six months old, they are stuffed with spices, impaled on a wooden pole and turned over a fire of coconut husks and wood for one or two hours.

Bebek Betutu
duck stuffed with spices and vegetables, wrapped in a banana leaf, and cooked for three or four hours, this dish is eaten on special occasions.

Rujak
a refreshing sweet and sour salad containing unripe fruit such as mango or papaya, mixed with sugar, chill and salt.

Sauces
There are some common sauces:

Sambal very spicy chili seasoning.

Kecap asin sour soy sauce.

Kecap manis sweet soy sauce.

Desserts
There are a number of desserts:

Black rice pudding also known as tofu: soy bean curd.

Jaja crunchy shelled soy beans that have been mixed with a special strain of yeast to form a small flat cake, which are then friend - it tastes a bit nutty. Snacks
Very tasty, but not spicy, dishes or snacks are:

Tahu or beancurd also known as tofu: soy bean curd.

Krupuk prawn crackers.

Tempe crunchy shelled soy beans that have been mixed with a special strain of yeast to form a small flat cake, which are then friend - it tastes a bit nutty.

Bali Fruits

The exotic, interesting fruits of Bali, and indeed the rest of Asia, are one of the best reasons for visiting. Bananas, coconuts and pineapples are well known - although you may not be prepared for the numerous varieties of bananas that are available.

The mangoes and papayas or pawpaws, which are now available in the West, are better in Bali. They have their seasons. Others are not available outside the tropics because they do not travel well and may not even be known outside Bali.

Tasty, interesting fruits are:

Durian :
The durian legendary is in the tropics. People either love it or hate it. It has an obnoxious smell and frightening appearance, weighs about 3 or 4 kilograms and is covered in large spikes. It is yellowish-green and has a hard shell. A creamy white pulp covers the seeds, which is what people eat.

Very good durians are for sale on the Kedewatan road from Ubud to Ponggang at the beginning of the rainy season in November.

Mangosteen :
Everyone likes this delicious sweet fruit. Queen Victoria offered to knight the first person who could get it to England in an edible condition. Nobdy succeeded. The shell is deep purple. It is a bit hard and has to be twisted or cut off to reveal four or five segments of brilliant white fruit. The season starts in December.

Lychee :
These are a native of South China. Payangan is the only place in Bali where they are cultivated. They taste acidic-sweet, rather like a grape. The season is late November. The bright red clusters of fruit are very attractive to fruit-eating bats, which usually get there first and finish them in one night.

Papaya :
These are known as pawpaws in the West. They are bigger in the tropics. The flesh is pink and rich in vitamin A. They are eaten at breakfast. There is no season.

Mango :
Mangoes are particularly good in Bali. The season starts in September. They can be big. The best way to cut them is in four lengthwise cuts and then peel. Mango juice is good.

Rambutan :
This red, hairy fruit grows in bunches in tall trees. Its name means "hairy", which describes it well. Take off the skin and eat the white, refreshing acid-sweet flesh that covers the single seed. The season starts in December.

Jackfruit :
These big, heavy, yellow fruits are very unusual and versatile. They be fried or eaten raw. They can also be cooked when they look like chunky pieces of meat. They are therefore ideal for vegetarians. They are the largest of all tropical fruits and weigh as much as 50 kilos.
The skin and protective white covering must be removed. Jackfruit juice tastes good. Jackfruit wood is yellow, easy to carve and is used for making wooden stands for musical instruments in the gamelan orchestra.

Pomelo :
The grapefruit is a descendant of the pomelo. Pomelos are bigger than grapefruits. The flesh is coarse and needs to be cut away to reveal the pomelo segments. They are bigger, sweeter and have a more subtle taste than a grapefruit.

Salak :
This fruit looks like a pear and has a reddish-brown, snake-like, scaly skin, which is easily peeled off to reveal crunchy, slightly astringent, white flesh. It grows in east Bali.

Star fruit: Blimbing
This yellowish-green five starred fruit is crisp and usually sweet.

Sirzak :
This large fruit is green on the outside, white on the inside, with an acidic-sweet taste.

Ubud

Ubud is located 35 km northeast of Bali's International Airport. It is attractive to tourists for a variety of reasons. On a relatively small island with a horde of attractions, Ubud is centrally located, and even the closest beach is only 15 minutes away.

The Ubud area is around two- to three hundred meters above sea level and surrounded by rice fields, which makes it noticeably cooler than then other tourist destinations in Bali. Neighbouring villages are well known for unique bamboo crafts and furniture, wood- and stone carving and many other crafts.

Ubud is famous for it's regularly nightly traditional dance performances, which are part of the traditional culture and are arranged for tourists on a regular schedule. Hindu-Balinese ceremonies take place on a nearly daily basis, especially in the European summer, which is the driest and coolest season here.

Ubud is popular in part today because it is the best place in Bali to break out of the tourist mode and get off the beaten path, although far from undiscovered. Hotels are plentiful; home stays and Indonesian guesthouses (losmen) are easily available to the foreign tourist. Many tourists simply base their entire stay in the city and travel to other destinations from Ubud.

Accommodations in Ubud are also somewhat more reasonably priced than in the beach towns of Bali. But atmosphere is perhaps the major attractions. One visitor summed it up this way: Kuta is madness, Sanur is sterile, and Nusa Dua is culturally isolated; Ubud is the place to go.

Monkey Forest Padang Tegal Ubud

The Sacred Monkey Forest of Padangtegal is owned by the village of Padangtegal. Village members serve on the Sacred Monkey Forest's governing council (The Padangtegal Wenara Wana Foundation). The Padangtegal Wenara Wana Foundation has historically strived to develop and implement management objectives that will both maintain the sacred integrity of the monkey forest and promote the monkey forest as a sacred site that is open to visitors from around the world.

In 1986, only 800 people per month (on average) were visiting the Sacred Monkey Forest of Padangtegal. Today, it is not uncommon for the monkey forest to host 10,000 visitors per month. Although the Padangtegal Wenara Wana Foundation welcomes the fact that a growing number of tourists are choosing to visit the Sacred Monkey Forest of Padangtegal, the Padangtegal Wenara Wana Foundation also recognizes that tourism can have negative impacts on the monkey forest's natural and cultural resources. As a result, some of the primary objectives of the Padangtegal Wenara Wana Foundation include:

* Educating people about the importance of conserving the Sacred Monkey Forest's natural and cultural resources.
* Maintaining a team of highly trained staff members that are responsible for overseeing the daily operations of the Sacred Monkey Forest.
* Monitoring and whenever necessary restoring the integrity of the Sacred Monkey Forest's natural and cultural resources.

The Padangtegal Wenara Wana Foundation would like to welcome you as a visitor to the Sacred Monkey Forest of Padangtegal. If you have any questions or need assistance, please ask a Wenara Wana staff member (identified in green uniforms). Currently, the entrance fee that visitors pay represents the primary source of funding for Padangtegal Wenara Wana Foundation natural and cultural resource management projects. The Padangtegal Wenara Wana Foundation requests that you help keep the visitor entrance fee nominal by respecting the sacredness of the Monkey Forest of Padangtegal, obeying all posted rules, and following the instructions of Wenara Wana staff members. In addition, if you enjoy your visit to the Sacred Monkey Forest, the Padangtegal Wenara Wana Foundation hopes that you will consider providing an additional monetary contribution (which will help the Padangtegal Wenara Wana Foundation to fund projects associated with the conservation of of the Sacred Monkey Forest's natural and cultural resources). Contributions can be made at the monkey forest's main office (located at the monkey forest's main entrance).

Ornamentation and Iconography in Balinese Temples

Balinese temples are enlivened by a variety of stone sculpture and relief which to the Western eye have an almost baroque or rococo quality. The original inspiration for many of the statues and motifs may have come from India, but everywhere they have been subjected to strong local influences which over centuries have given rise to a uniquely Balinese artistic tradition.

The basic material used for stone carving is a soft volcanic sandstone, or tuff, which has a very plastic quality and lends itself well to being shaped by the stone mason`s chisel. Equally, it deteriorates fairly rapidly when exposed to the elements and Balinese temples are in a constant process of renovation and renewal.

A Balinese Iconography

One of the most striking images in Balinese temples is the face of a leering monster, which lolling tongue, bulging eyes and ferociously large canines, which is typically found over the monumental gateway (kori agung) leading to the innermost courtyard. This demonic visage is the face of the bhoma, whose fearful countenance is intended to drive away malevolent influences the temple precincts.

Less important locations are augmented with karang bintulu-a monstrous single eye which stares unblinkingly over a dental arcade of upper teeth with extended canines. This motif is typically surmounted by an image of a mountain-a representation of the legendary Mount Meru which stands at the centre of the Hindu-Buddhist universe and is identified in Indian mythology as the abode of the gods.

Corner motifs include karang curing, which are composed by the upper part of a bird`s beak with a single eye and jagged teeth, or as an alternative, karang asti, the jawless head of an elephant. When the Mexican artist and author Miguel Covarrubias, who lived in Bali during the 1930s, asked why these images lacked a lower mandible, he was told that this was because they did not have t o eat solid food. Covarrubias comments:”This is, in my opinion, a typically Balinese wisecrack and not an indication of any such symbolic meaning”

Other decorative motif include border designs (patra) of which there are several kinds. The type known as patra olanda might have been inspired by Dutch sources, while the pattern known as patra cina, indicates Chinese origins.

Padmasana shrines and meru are typically decorated with geometric or foliate motifs, while the carvings or pavilions may include representations of animals and mythological beasts, or even the gods themselves.

The most important images are reserved for the walls and gateways for they divide the sacred precincts of the temple from the profane, secular world outside. Especially significant in this last respect are the reliefs which adorn the free-standing wall, or aling-aling, which is placed just behind the kori agung gateway as one enters the innermoust courtyard in the temple complex. The latter typically sports a rogues` gallery of demons and ogres who are intended to deter malevolent influences from penetrating the inner sanctum.

A Typology of Temples

A conservative estimate reckons that there are some 20,000 temples in Bali. Most of the time they are deserted, watched over by a lay priest, or pemangku, who keeps the temple precincts clear of leaves and acts as a general caretaker. But every temple has its birthday festivals, or odalan, whose date is fixed either according to a 210-day ritual cycle, or alternatively the ancient Hindu lunar Saka calendar. An odalan may last for several days, and their principal aim is the ritual purification of the temple catchment area and its congregation. On these occasions, the temple becomes the centre of intensive activity drawing in the entire local community to participate in prayer and ritual supplication to the gods and to partake of the associated entertainments-gamelan performances, puppet theatre, dance drama, operetta and the like.

Temples for All Occasions

There are a great variety of temple types in Bali, each servings a different function. Every village, or desa, has three main temples which govern the religious life of the community. They are known as the kahyangan tiga and they are identified with the Hindu trinity of Brahma, Vishnu and Siwa. Other kinds of temples include pura panataran, or royal temples, which are usually incorporated as part of a palace complex, and private origin temples dedicated to the ancestors of a particular family- variously pura dadia, pura kawitan and pura padharman, depending in the genealogical depth being traced. There are also hill temples (pura bukit), sea temples (pura segara) and temples dedicated to the tutelary gods of seed (pura melanting) and markets (pura pasar). Each irrigation society-a collective of rice farmer who draw their water from a common source–will also have its own temple (ulun carik).

Sad Kahyangan

Especially prominent temples in the religious life of Bali are the `six great sanctuaries`, or `temples of the world` (sad kahyangan) which are recognized as the most sacred sites on the island. They include Pura Luhur Uluwatu at the westernmost tip of Bukit Penisula, Pura Goa Lawah near Kusamba, Pura Lempuyang Luhur in Karangasem, Pura Batukau in Tabanan and Pura Pusering Jagat in Pejeng. The most sacred temple of all is Pura Besakih, on the southern slopes of Gunung Agung, which is identified as the `mother temple` of all Bali. Other important regional temples include the `temples of the Sacred Ones-pura dang kahyangan-which are associated with the legendary Javanese priests who brought Hinduism to Bali.

King and Cosmos

In traditional Hindu cosmology, the political territory of a kingdom is conceived, in symbolic terms, as being coterminous with the universe as a whole, a microcosm of the macrocosm. In this respect, the seat of the ruler, which was ideally situated at, or near, the geographical centre of the kingdom, was perceived not only as the ultimate source of temporal power but also as a cosmological and ritual centre. The two aspects of power went hand in hand, the ruler, in Classical Indonesia, being regarded as divinely appointed (cakravartin).

The kingdom of Mengwi

The temple of Pura Taman Ayun was once the state temple of the kingdom of Mengwi which flourished in the 17th and 18th centuries. The actual sanctuary itself was founded in the mid-18th century and reflects and attempt to literally re–centre the kingdom following a power struggle between rival factions within the royal family. The ascendant house decided to consolidate its advantage by building a new temple complex at Taman Ayun, situated halfway along a line running between Gunung Pengelengan-the local Mount Olympus- and the coastal temple of Pura Ulun Siwi. In cosmological terms this point was identified as the `navel` (puseh) of the world, and axis mundi situated midway between the heavens and the Stygian seas.

The Balinese Village

The Balinese village us described by the world desa. This denotes both the settlement and its immediate physical environs ( tanah desa) and at the same time refers to a religious community made up of local householders and their families who are responsible for maintaining the ritual purity and spiritual well-being of the tanah desa.

The latter is achieved by observing the local customary laws (desa adat) and by participant in the cycle of religious ceremonies that take place at the village temples.

Village Layout

The Balinese village is laid out on a kaja-kelod axis running between the mountains and the sea, often in defiance of local topographical considerations.
The approach is signaled by a candi bentar (split gateway), with the road typically executing a sharp S-bend a little after this. Like the aling-aling `blind` wall immediately inside the entrance to the S-bend strategy outside it is another tactic intended to prevent malevolent spirits from entering the village –the spirits are said to hall (bale agung) and a drum tower (bale kulkul ), for summoning the community to meetings. There may also be a special pavilion for holding cockfights. This is called a wantilan and is often quite an impressive structure with a soaring roof and elegant columns.

Kahyangan Tiga

Balinese villages should ideally have at least three temples, which between them serve the religious needs of the community. In addition to the main village temple, which is situated at the centre of the village, there is also a temple honouring the founding fathers of the community and another dedicated to the dead.
Their respective locations, in relation to the centre of the village, can be understood in the context of Balinese ideas of ritual sancity and pollution: the ancestral temple (pura puseh) is placed at the kaja end of the village as benefits the deified status of the community founders, while the temple for the dead, the pura dalem, is located at the kelod end, reflecting the polluting nature of death. By the same reasoning, the community graveyard and cremation ground too are, typically, situated nearby.
The practice of having three village temples is said to have been begun by Mpu Kuturan, the revered Javanese priest, sage and temple architect who was responsible for a reformation of Balinese Hinduism during the 11th century, at a time when the religion was in decline. The three temples are known collectively as the kahyangan tiga and they are identified with the Hindu trinity of Brahma, Vishnu and Siwa.

Balinese Palaces

In traditional Hindu cosmology, the territory of the kingdom was conceived, in symbolic terms, as replicating the universe as a whole, a microcosm of the macrocosm. In this respect, the seat of the ruler, which ideally was situated at or near the geographical centre of the kingdom, was seen not only as the ultimate source of temporal power but also as a cosmological and ritual centre. The two aspects of power went hand in hand, for the ruler in Classical Indonesia was regarded as divinely appointed.

Balinese Kongdoms

Following the conquest of Bali by the East Javanese Majapahit kingdom in the early 14th century, a vassal king was installed at Samprangan, near present-day Gianyar, who owed his allegiance to Java. The island was effectively a dependency of Java until the start of the 15th century, but, as Majapahit fortunes waned, Bali gradually gained its autonomy from Java and, following the collapse of Majapahit in the early years of the 16th century, grew to be an imperial power in its own right under the leadership of king Waturenggong. By the end of the next century Bali had fragmented into several lesser kingdoms. These survive today as eight regencies (kabupaten), Bali`s local government departments.

At the Centre

The palace (puri) of the local dynastic ruler (raja) and his family should be auspiciously sited, ideally within the kaja-kangin quadrant formed by the crossroads at the centre of town. In practice, local circumstances and history may determine otherwise. For example, there may be more than one palace complex. At Karangasem, an older palace was left by the founders of a new dynasty to senior relatives, while for younger relatives; where two earlier palaces occupy the centre of Bangli, the principal one is situated in the town`s kaja-kangin quadrant.

Palace Layout

The palace resembles the basic pattern established for the residential compound of the common man, for it is laid put according to the same rules of the Balinese compass rose. For palaces, however, the grid-like division of the area enclosed by the perimeter walls is given a physical reality, with walls and doorways dividing the palace precincts into a series of the interconnected courtyards.

The Dynastic Temple

The kaja-kangin sector of the grid is occupied, predictably, by the family temple (pemerajan) of the ruler, which in this instance forms a kind of cosmic centre of the public on ceremonial occasion and is approached from the kauh side of the palace complex via two intermediary courtyard (jaba and jaba tengah). The first of these should ideally be situated on the western side of the palace complex and is entered from outside the palace walls via a ceremonial, split gateway (candi bentar). The second courtyard is used for the preparation of offerings and the reception of guests attending palace ceremonies. This courtyard is completely enclosed on all sides and is entered from the outer courtyard by another ceremonial gateway called a kori agung, which has a lintel and doors that can be shut. The kori agung is usually quite an ornate structure, with statuary and carvings intended to deter malevolent influences from entering the inner sanctum of the royal temple. The aling-aling wall inside the gateway is also decorated with reliefs, which often allude the date of construction. The door way the kori agung is opened only on ceremonial occasions, with every day access afforded by a smaller, less elaborate door to one side.
The sanctum sanctorum of the royal family temple (jero-dalem) contains the ancestral shrines of the ruling dynasty, which are much the same as the other family shrines except that they are usually more numerous and more elaborately ornamented.
There will also be meru towers dedicated to the gods. The number of tiered roofs (tumpang) is always uneven; the exact count depends on the nature of the deity to whom the structure is dedicated and the status of the person responsible for its erection. For example, a raja who dedicates a meru to Siwa is entitled to build the maximum number of tumpang-eleven.

Raja`s Residential Quarters

The most important of the three residential courts that occupy the central row of the palace complex is the middle one, which is where the raja and his family live. A wall bisects the court along an east-west axis and symbolizes the division between the public and private lives of the ruler.
The kelod half (pelataran rangki) is the public domain and is reached by members of the public from the kelod end the palace complex. This court has a bale gede where important lifecycle rituals relating to members of the royal family take place and there is also likely to be a pavilion to house important guests.
The kaja half of the central court is called the saren agung and this is occupied by the ruler and immediate family. The main building here is the living quarters (ukiran) of the raja himself. This should ideally be located exactly in the middle of the palace complex where it is divided in two by the wall that separates the central courtyard into its kaja and kelod halves. In this respect, the ukiran is located on the border of the public and private domains. The ukiran`s distinguished status is signaled by its pointed roof; all the other buildings have hipped roofs, except for the family shrines and the meru towers.

The Royal Family Members

To the east of the most central court lies the saren kangin, the residential quarters for the royalty not in the ruler`s immediate family-usually an order branch of the incumbent royal family. The basic layout of the saren kangin resembles the typical residential compound, arranged around a central natar, with family shrines in the kaja kangin corner, an umah meten to the west of this and a bale gede to the east. The western counterpart of the saren kangin is the saren kauh, where junior members of the royal family live-for example, the raja`s younger brother.