Monday, March 31, 2008

Bali Kite Festival

The Bali Kite Festival is an annual international kite festival held in July in Padang Galak area, Sanur Beach, Bali. Traditional giant kites (4 meters in width and almost 10 meters in length) are made and flown competitively by teams from the villages (banjar) of Denpasar. The event is a seasonal religious festival intended to send a message to the Hindu Gods to create abundant crops and harvests.

Bebean (fish-shaped), Janggan (bird-shaped) and Pecukan (leaf-shaped) are three traditional kites flown during this kite festival. The kites are flown by teams of 10 or more adult kitefliers. The Bebean is the largest kite, and looks like a broad-mouthed, split-tailed fish. The Janggan form has a broad flowing cloth tail that can reach more than 100 meters in length. The Pecukan requires the most skill to fly, as its unstable form often tumbles towards the ground. Red, white and black are traditional colours used in the kite's designs. Each type of traditional kite has its own competition, with heats of 10 teams vying for the best launch and longest flight. Sometimes the kites come down over the adjacent rice paddies, and the team members have to dash through the paddy to rescue the kite before it lands in the water.

A competition is also held for 'New Creation' kites which may include detailed three dimensional figures representing the Hindu Gods or sponsorship kites. Traditional and new creation kites are constructed from bamboo and cotton cloth.

In the dry season of June through August, the winds blow continually from east to west in most of Indonesia. Balinese children and adults fly kites in the vacant rice paddies during this period.

A gamelan orchestra plays music throughout the festival. The festival attracts many tourists and international kitefliers, along with many local spectators.

Monday, March 17, 2008

Nyepi


Nyepi is a Balinese "Day of Silence" that falls on Bali's Lunar New Year (March 7, 2008). It is a day of silence, fasting, and meditation.

Observed from 6 a.m. until 6 a.m. the next morning, Nyepi is a day reserved for self-reflection and as such, anything that might interfere with that purpose is restricted. The main restrictions are: no lighting fires (and lights must be kept low); no working; no entertainment or pleasure; no traveling; and for some, no talking or eating at all. The effect of these prohibitions is that Bali’s usually bustling streets and roads are empty, there is little or no noise from TVs and radios, and few signs of activity are seen even inside homes. The only people to be seen outdoors are the Pecalang, traditional security men who patrol the streets to ensure the prohibitions are being followed.


Although Nyepi is primarily a Hindu holiday, non-Hindu residents of Bali observe the day of silence as well, out of respect for their fellow citizens. Even tourists are not exempt; although free to do as they wish inside their hotels, no one is allowed onto the beaches or streets, and the only airport in Bali remains closed for the entire day. The only exceptions granted are for emergency vehicles carrying those with life-threatening conditions and women about to give birth.

On the day after Nyepi, known as Ngembak Geni, social activity picks up again quickly, as families and friends gather to ask forgiveness from one another, and to perform certain religious rituals together.

First, The Melasti Ritual is performed at the 3-4 previous day. It is dedicated to Sanghyang Widhi/Vishnu-Devas-Bataras and is performed at the beach to respect them as the owner of The Land and Sea.
Second, The Bhuta Yajna Ritual is performed in order to vanquish the negative elements and create balance with God, Mankind, and Nature.
Third, The Nyepi Rituals is performed with the following conditions:
Amati Geni: No fire/light
Amati Karya: No working
Amati Lelunganan: No traveling
Amati Lelanguan: Fasting
Fourth, The Yoga/Brata Ritual starts at 6:00 AM March 19 and continues to 6:00 AM March 20 (24 hours, dates provided are for 2007).
Fifth, The Ngebak Agni/Labuh Brata Ritual is performed for all Hindu's to forgive each other and to welcome the new days to come.
Sixth and finally, The Dharma Shanti Rituals is performed as the Nyepi Day or "Day of Silence."

Sunday, March 16, 2008

Balinese Art's

Balinese art is art of Hindu-Javanese origin that grew from the work of artisans of the Majapahit Kingdom, with their expansion to Bali in the late 13th century. Since then, Ubud and its neighboring villages have been the center of Balinese art. Ubud and Batuan are known for their paintings, Mas for their woodcarvings, Celuk for gold and silver smiths, and Batubulan for their stone carvings.
Prior to 1920s, Balinese traditional paintings were restricted to what is now known as the Kamasan or Wayang style. It is a visual narrative of Hindu-Javanese epics: the Ramayana and Mahabharata. These two-dimensional drawings are traditionally drawn on cloth or bark paper (Ulantaga paper) with natural dyes. The coloring is limited to available natural dyes: red, ochre, black, etc. In addition, the rendering of the figures and ornamentations must follow strictly prescribed rules, since they are mostly produced for religious articles and temple hangings. These paintings are produced collaboratively, and therefore mostly anonymously.

In the 1920s, with the arrival of many western artists, Bali became an artist enclave (as Tahiti was for Paul Gauguin) for avant-garde artists such as Walter Spies (German), Rudolf Bonnet (Dutch), Adrien-Jean Le Mayeur (Belgian), Arie Smit (Dutch) and Donald Friend (Australian) in more recent years. Bali has also attracted world famous anthropologists, from Stutterheim (Dutch) to Gregory Bateson and Margaret Mead (American).

On his first visit to Bali in 1930, the Mexican artist Miguel Covarrubias noted that local paintings served primarily religious or ceremonial functions. They were used as decorative cloths to be hung in temples and important houses, or as calendars to determine children's horoscopes. Yet within a few years, he found the art form had undergone a "liberating revolution." Where they had once been severely restricted by subject (mainly episodes from Hindu mythology) and style, Balinese artists began to produce scenes from rural life. What's more, these painters developed increasing individuality.

This groundbreaking period of creativity reached a peak in the late 1930s. A stream of famous visitors, including Charlie Chaplin and the anthropologists Gregory Bateson and Margaret Mead, encouraged the talented locals to create highly original works. During their stay in Bali in mid 1930s, Bateson and Mead collected over 2000 paintings, predominantly from the village of Batuan.

Among western artists, Spies and Bonnet are often credited for the modernization of traditional Balinese paintings. They provided painting media and introduced western painting concepts, such as western perspectives and techniques concerning picture and color composition and human anatomy. More importantly, they acted as agents of change by encouraging individual freedom of expression, and promoted departures from the confining traditional Balinese painting traditions. The result was an explosion of individual expression that lead to the birth of the neo-traditional Balinese painting. The Ubud painters particularly embraced it with courage and enthusiasm. This modernization took the forms of: (1) the shifting of the choice of subject matter from the narration of religious epics to the depiction of daily Bali life and drama; (2) the change of the patron of these artists from the religious temples and royal houses to western tourists/collectors; (3) shifting the picture composition from multiple to single focus. The latter is most evident in the works of Ubud artists.

Despite the adoption of modern western painting traditions by many Balinese and Indonesian painters, the neo-traditional Balinese painting tradition is still thriving and continues by descedents/students of the artists of the pre-war modernist era (1928-1942). The schools of neo-traditional Balinese painting include: Ubud, Batuan, Sanur, Young Artist and Keliki schools of painting.

Thursday, March 13, 2008

Bali Barat National Park

Bali Barat National Park is located on the north western side of Bali, Indonesia. The park covers around 770 km², which is approximately 10% of Bali’s total land area. To the north, it includes 1,000 m long beach, reef and islets. A seaport at Gilimanuk is west of the park and a village named Goris is to the east. The Bali Barat National Park can be reached by roads from Gilimanuk and Singaraja, or by using ferries from Ketapang, Java.

There are several habitats in Bali Barat National Park, a savanna, mangroves, montane and mixed-monsoon forests, and coral islands. The center of the park is dominated by remnants of four volcanic mountains from Pleistocene era, with gunung Patas (1,412 m) as its highest elevation.

Some 160 species can be found inside the park, including the Banteng, Barn Swallow, Black-naped Oriole, Black Racket-tailed Treepie, Crested Serpent-eagle, Crested Treeswift, Dollarbird, Hawksbill Turtle, Indian Muntjac, Java Sparrow, Javan Lutung, Large Flying Fox, Leopard Cat, Lesser Adjutant, Long-tailed Shrike, Milky Stork, Pacific Swallow, Red-rumped Swallow, Rusa Deer, Sacred Kingfisher, Savanna Nightjar, Stork-billed Kingfisher, Water Monitor, Wild Boar, Yellow-vented Bulbul and the critically endangered Bali Starling.

There are also several endangered flora species in this national park, such as: Pterospermum diversifolium, Antidesma bunius, Langerstroemia speciosa, Steleochocarpus burahol, Santalum album, Aleuritas moluccana, Sterculia foetida, Schleichera oleosa, Dipterocarpus hasseltii, Garcinia dulcis, Alstonia scolaris, Manilkara kauki, Dalbergia latifolia and Cassia fistula.