Bali nightlife is active and the
2 main party places are
Kuta and Seminyak. Here are a few things going on on Friday May 26th.
•De Ja Vu
Progressive music played by DJ Bone, with help from DJ Emon, Jonny & Sofyan.
From 11pm. De Ja Vu is located at the end of Jl. Double Six (turn left) in Seminyak
•F Lounge
DJ GoldDigga spins hip hop funky classics.
From 10pm. F Lounge is located at Fabio’s on Jl. Seminyak, in Seminyak.
•Waroeng Bonita
Egyptian dancers, fashion show, BBQ buffet dinner - 100,000rp. (0361) 731918. Waroeng Bonita has an ‘omni sexual’ manager who is part of the show, sporting creative attire.
From 8pm. Waroeng Bonita is located on Jl. Petitenget in Seminyak / Kerobokan
•JP’s Warung
JP’s has live music 7 nights a week starting at 10pm. Usually an all male line up of musicians, often favoring music with a Latin twist.
JP’s is located on Jl. Dhyana Pura about 30 meters from Jl. Seminyak.
•Santa Fe
Santa Fe has live music 7 nights a week starting at 11pm. Bands are usually male backed with female lead singers, banging out pop songs.
Santa Fe is located on Jl. Dhyana Pura about 100 meters in from Jl. Seminyak
•Hu’u
DJ Nason plays African inspired tunes with help from Benk-Benk.
From 11pm. Hu’u is locate on Jl. Petitenget, past Ku De Ta and the temple.
•MBarGo
DJ Ifin plays music from 70s-90’s downstairs. Upstairs DJ Kent & DJ Leon spin House & Progressive funk.
Free Bintang from 10pm - 12 midnight. MBarGo is located on Jl. Legian in Kuta
May 26th, 2006
DENPASAR (indo.com): Blessings will be given at every family compound, clan temple, school temple and many other places of worship in order to celebrate Saraswati Day. The day is devoted to Sang Hyang Aji Saraswati, the Goddess of Knowledge and Arts, and reminds us of the value of our holy scriptures and the disciplines of science and art. The day is a holiday on the island, and the night before is characterised by Mekekawin - the singing of ancient Balinese songs, written on ancient lontar parchment.
Saraswati comes twice a year. According to the Balinese lunar month, the celebration falls on Watugunung, the last week of the Balinese calendar. All Balinese Hindu people welcome the descent of the God of Knowledge by conducting a series of ceremonies, starting early in the morning.
The name comes from a very beautiful goddess called Saraswati, the manifestation of the God Brahma (the Creator) in Hinduism. The complete symbol is the Goddess, holding a wina (a kind of guitar), a genitri (a small loop of holy chain), and the keropak (holy book). The Goddess is standing on a lotus with a goose and a peacock on either side.
This image is loaded with symbolism. The feminine beauty of the goddess symbolises the attraction and fascination that science has over mankind, whereas the genitri denotes that science is a continuing process without beginning nor end. The keropak simply symbolizes literature and books, the places in which science and knowledge are stored, and the musical instrument, the wina, indicates that science is a masterpiece of art and culture.
As is common throughout Balinese symbolism, the lotus flower represents holiness, and the peacock is the symbol of the charismatic power of those in possession of science. The goose symbolizes the wisdom of aligning with the good things in life, instead of the bad, in order that life in this world may become increasingly harmonious.
May 26th, 2006
DENPASAR (indo.com): Throughout the months of July and August it is common to find tooth-filing ceremonies throughout Bali. In the Balinese belief system, the ceremony helps people rid themselves of the invisible forces of evil - teeth are the symbol of lust, greed, anger, insobriety, confusion and jealousy. Filing the teeth therefore renders someone both more physically and more spiritually beautiful, as well as symbolising the rite of passage for an adolescent into adulthood.
Whenever possible, the filer is a member of the highest caste, the Brahmin (priest). They are known as Sangging, and use simple tools to conduct their work - a file, a small hammer, and a carver. These are purified with holy water prior to the ceremony by a lay priest. Items provided by the family include a mirror, a piece of sugar cane, and some young coconut. The person having their teeth filed must remain in isolation indoors for the whole day prior to the ceremony, in order to remain protected from the negative influences of magic - while they are still considered “immature’, prior to the ceremony, they are particularly vulnerable to the influence of evil spirits.
Artifacts found in the Buleleng regency have resealed that the Balinese have been holding the tooth filing ceremony for over 2000 years, hence it was not originally a Hindu ceremony. However, amidst the influx of other influences on the island, the tradition has remained, now having been absorbed into the predominantly Hindu belief system prevalent on the island. The principal of karma phala demonstrates how the Balinese always link present events with the past: karma means “action” or “attitude” and Phala means “effect”.
Ceremonies are usually held between 4.00 am to 6.00 am, before the sun rises, and are accompanied by religious songs. After the tooth filing ceremony, the teenager is considered to be a mature adult. In recent years, families have taken to holding their children’s ceremonies in a group in order to economise.
If you are fortunate enough to be in Bali during the months of July and August, ask around and find out when and where you can catch a tooth-filing. It is one of Bali’s most idiosyncratic ceremonies - one that you are unlikely to find elsewhere in the world.
May 26th, 2006
The lifestyles of Balinese people is expressed in their dance. Not only do we learn about the Balinese religion from their dance creations but also we can come to understand the flow of cultural events and activities that belong to everyday life. We can discover Balinese attitudes, how they look at nature, and how they regard their fauna and flora.
The very essence of the Balinese culture is dance and drama, which is performed during temple festivals and in ceremonies. The dances performed in hotels is a small fraction of what Balinese dance has to offer.
Balinese dance goes as far back as Balinese written history with much of the heritage originating from Java. Ironically, as a result of the Islamisation of Java, the Javanese culture has disappeared but has still survived in Bali and has become part of classical Balinese culture.
Balinese dance cannot be separated from religion. Even the dances for the tourists are preceded by many dancers praying at their family shrine for taksu (inspiration) from the gods.
Dance fulfils a number of specific functions: It may be a channel for visiting gods or demons, the dancers acting as a sort of living repository. It may be as a welcome for visiting gods. It may be entertainment for visiting gods.
The typical posture of Balinese dance has the legs half-bent, the torso shifted to one side with the elbow raised and lowered in a gesture that displays suppleness of the hands and fingers. The torso is shifted in symmetry with the arms. If the arms are to the right, the shifting is to the left and vice-versa.
The Ramayana
The story of the Ramayana greatly inspires the Balinese. Many of their dances are based on this great story which is often depicted in a ballet.
The Balinese version differs from the Indian Version. It is told that Rama, as the first son in a family, was the heir to the Ayodya kingdom but the king’s second wife, through her treachery forced the king to crown her own son as the King of Ayodya and asked him to send Rama and his wife into exile.
Because he respected his father, Rama went with his wife called Sita and his beloved younger brother, Laksmana into a forest called Dandaka. Usually the first act of the ballet depicts Rama and entourage in the heart of the Dandaka forest.
Rahwana, the evil King of Alengka, enchanted by the beauty of Sita, wanted to have her as his concubine. He sent one of his knights, Marica, to temp Sita by transforming himself into a golden deer. Sita, captivated by her curiosity, asked her husband to catch the golden deer.
The next act explains how Rama succeeds in hunting the golden deer but as his arrow struck the golden deer it transformed back into Marica. Meanwhile Sita heard a distant cry for help. Laksmana, who had been asked by his brother to look after his sister-in-law, tried to explain to her that the cry sounds very suspicious. But nevertheless, Sita was convinced that someone was in need of help. So she sent Laksmana to look for this person and to help whoever it is. In his desperate attempt, Laksmana asked Sita, no matter what would happen, to stay inside the guarding circle that he created.
Rahwana, knowing that Sita was protected by the circle transforms himself into an old priest. He approaches Sita and asks her for a drink. Sita, without hesitation, extends her hands beyond the circle to hand him the water. Rahwana takes the advantage, snatches her hand and takes her to his palace in Alengka.
On the way, Rahwana encounters a mighty eagle Jatayu. By every means possible, Jatayu tries to rescue Sita from the evil king but fails and is killed by Rahwana.
Rama and Laksmana find the dying Jatayu who tells them the whole story of what had happened to Sita.
In his attempt to release his wife, Rama seeks the help from Hanoman and his monkey soldiers. Hanoman finds Sita in the palace’s garden. She had been asked by Rahwana to marry him but she would rather die. Hanoman convinces Sita that he is Rama’s messenger and talks of a plan.
Rahwana catches Hanoman and burns his tail but in so doing, set fire to the palace’s’ gardens. The pyrotechnics can be very impressive.
In the last act, Rama and his troops are depicted attacking Rakhwana’s palace. Finally Rama manages to kill Rahwana and therefore takes his wife back to his country.
The abridged version ends here but if you see paintings in Kamasan style based on the Ramayana story, you would notice that in the last of serialised paintings, Sita had to prove she was still pure, and had not been tainted by Rahwana, by plunging herself into a fire. Because of her faith in her husband, God saved her from the fire and she lived happily ever after with Rama.
The Indian version reveals a very different ending with Sita saved by Mother Earth, never returning to her husband.
The Welcome Dance - Tari Panyembrama
The Panyembrama is probably the most popular Balinese social dance. In keeping with its meaning in the Balinese Language, Panymebrama is frequently staged to welcome guests of honour who are making a visit to this islands of the Gods.
Four or eight young girls bearing a bokor, a heavily engraved bowl made from silver or aluminium, laden with flowers, dance expressively to the accompaniment of vibrant gamelan music.
During the dance, the flowers are scattered over the guest or audience as an expression of welcome. The Panymebrama has taken many of its movements from temple dances, such as the Rejang Dance, Pendet and Gabor, which are considered sacred and performed exclusively for God. There is an analogy between the secular Panymebrama and the religious temple dances, as all these dances are welcoming dances, the difference being in the place in which they are stage.
The Tari Panymebrama comes under the Balinese classification of Legong (individual dances), because it has no connection with other dances, has no story and was specifically created for welcoming and entertainment purposes.
The hospitality and friendliness conveyed through the smiles of the Panymebrama girls, charms the audience and so is very fitting as an opening for a show, etc.
The Yudapati Dance
Yudapati is a dance which depicts a male character but is performed by female dancers. The word Yudapati is derived from Yuda which means war and Pati which means death. The dance represents the kamikaze warrior in defending the truth. The dance was created in 1987. It is based on the Baris dance.
The dancer wears typical male attire, headcloth, shirt, carved leather belt and other jewellery. The reason for a male being performed by a female is that the choreographer wishes to reveal all the subtle gestures and movements in the dance by using the flexibility of a woman’s body.
Male dance performed by females is called Bebancihan. A number of other dances have been created in the s style, such as Margapati, Trunajaya, Prawireng Puti, Wiranata and Danur Dara. They require masculine interpretation and expression which is quite hard for female dancers. Yudapati dance was originally performed for religious purposes but nowadays is performed regularly as a tourist attraction in some restaurants.
The Ghopala Dance
This dance provides the audience with an interesting insight into the lives of people who live in a simple and pure manner in an environment of blissful tranquillity. This dance originated in 1984 and usually performed by five boy dancers. The characters of the Ghopala dance are especially funny and will draw laughter from the audience.
The Ghopala theme depicts the world of children herdsmen who gleefully meet and play along the boundaries of rice fields while tending their cows. Their lives are filled with happiness as they dance and play in a way which highlights their individual characters. They never tire of their duties as herdsmen, faithfully defending the lives of their cattle. Thus the audience are transported to a distant time when people lived in peace and contentment, an age which had not yet become influenced by the bustle of business which now constantly steals our time.
The Semarayana Dance
As we know, there exists many art forms such as music, painting, poetry, drama, sculpture, etc. and, of course, dancing is yet another and is a popular form of expression. Artists will take a certain aspect of a medium, build on it to form another. This is the case of the Semarayana dance developed in 1994 as a subject for a thesis submitted by Ms Ni Nyoman Sri Armita to the Indonesian Arts Academy of Denpasar for her graduation.
The main character is Dewi Chandra Kirana, a princess from the kingdom of Daha who disguised herself as a male youth so she could venture out and seek her beloved who had disappeared without a trace.
With shoulder length hair, commonly used centuries ago throughout Java and Bali, the princess was unrecognisable as a female. The symbol of manhood which fooled people she met on the road, was the use of the Balinese male headgear called the Destar. It is made from material that wraps around the head and has an artistic formation of bunched material at the front.
Balinese males still use the destar when attending ceremonies. The feature of the destar is the decorative use of gold lines.
Dewi meets her beloved but due to her disguise and the fact that he is partly obscured when they meet, a fight develops. In the ensuing melee, the princess’s destar is knocked from her head and her sweetheart, Raden Inu Kertapati, recognises her and rushes to her side to embrace her.
And, of course, they lived happily ever after.
The Barong Dance
The are several versions of the Barong Dance, as Bali has an abundance of myths and legends. There is Barong Ket, Barong Asu (Dog Barong), Barong Macan (Tiger Barong), Barong Bangkal (Pig Barong), Barong Gajah (Elephant Barong) and others.
One of the well known stories on which the Barong Dance is based, is the Kunti Seraya. The plot is very intriguing, showing the effect of the Gods intervention upon the people through supernatural powers.
It is told that Dewi Kunti, from the royal family of Hastinapura, was very ill. As a devotee of the Goddess Durga, she seeks help, however, the Goddess tells her that the price of health is her own son, Sahadewa. It seems that the Goddess fancied Sahadewa’s young and luscious flesh for her dinner.
Dewi Kunta recovers from her illness and it is time to pay the price. She regrets her decision to pay the price but a promise is a promise. One of the Goddess’s followers put her into a trance and enters her body. She becomes a terrifying creature and unconsciously beats Sahadewa mercilessly. She then takes him to an unpenetratable jungle and ties him to a tree. Later Sahadewa is given immortality by God and she overcomes the wrath of the Goddess and she is able to release her son.
The Sanghyang Jaran Dance
The unique feature of the Sanghyang Jaran dance is the courage of the dancers who in a state of Kesurupan or trance, calmly step and trample on red hot coals just as if they were walking in cold water.
This dance is believed to have the power to invite the gods or sacred spirits to enter the body of the dancers and put them in a state of trance. It dates back to the ancient Pre-Hindu culture, a time when the Balinese people strongly believed that a dance could eliminate sickness and disease. The is dance is usually performed in the fifth or sixth month of the Balinese traditional calendar as it is believe that during these particular months, the Balinese are vulnerable to all kinds of illnesses.
The War Dance - Gebug Ende
The Gebug Ende is a combination of dance and trial of prowess. It is usually performed by two to sixty male dancers who dance and fight on stage in pairs. Each dancer/fighter carries a one and a half metre long rattan stick as as a weapon and a shield called an ende. During the performance the two men try to beat one another with the stick while using the ende to protect themselves. The dance is called Gebug Ende as it literally means beating the ende or shield. One cannot afford to make mistakes in this dance as otherwise injury results.
The Gebug Ende is quite unique as it has certain rules that have to be followed by the participants. Led by a jury, this dance starts with two dancers, while the rest sit in a circle, cracking jokes and singing, while waiting their turn. The jury decide which of the two contestants loses the game and has to leave the stage. Then they will call the next men to the stage. This continues until all have had a turn. Sometimes the fight becomes very fierce and the dancers get thrown of the stage from the blows of the rattan stick. Bruises and wounds are common in this ritual.
Legong Trunajaya - The dance of love and emotions
The Trunajaya dance describes the emotions of a young man through love and passion. The dance movements reflect the theme of courtship and love.
Truna meaning ’single’ and jaya meaning ‘to win’ immediately gives an understanding of the dance. Ironically, the dancer are young women who take on the role of young men. The women wear a ‘destar’ normally worn by men and an unusual loin-cloth called a ‘kancut’. The Trunajaya is normally danced by a single female but sometimes two, dancing together in synchronous movements and to the mesmorotic sounds of the ‘Gong Kebyar’, a fast, rhythmic beat which goes in harmony to the dance. The dance was created by Wayan Wandres, from Singaraja, Northern Bali.
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May 24th, 2006
Contrary to popular beliefs spread by travel guidebooks, not all of night life activities in Bali are the result of foreign tourists. Two spectacular night time activities that are on the opposite end of a spectrum are distintly Balinese:
The Kecak Dance
Also dubbed by Westerners as the Monkey Dance, the Kecak Dance is a spectacular coreographic accomplishment that showcase another aspect of Balinese artistic excellence. One hundred or so bare-chested men sit down on the ground surrounding a bonfire or a fire made from coconut husks, led by a priest or a female dancer in the middle. The only music to accompany them are the beats of their palms clapping or hitting their chests, their thighs, or other parts of their bodies, rhythmically accompanied by shouting and chanting. The dancers move in unison, creating a spectacular sequence of hands stretched out, pulled in, rested on the shoulder of the next person, and waists gyrated left and right. All in a dizzying tempo.
Wayang Kulit
Or shadow puppet. Typically performed very late at night, a Wayang Kulit theatrical performance can last until morning. The night performance of wayang kulit is usually considered strictly entertainment, as opposed to a day performance which usually serves strict religious purpose. Temple festivals and other ceremonies can sometimes be a good place to find a wayang performance.
Balinese dances are sometimes performed at night; regularly scheduled performances are available throughout the year.
Besides those two activities, night life as commonly known in the West also exists in Bali, especially in Kuta. For you people-watchers, the cafes, pubs, and discotheques lining the streets of Kuta and Legian are definitely the place to be and to be seen. Pub crawls can require many nights, and the varieties beat even the wildest college town you would ever know. So, if your idea of fun consists of nightly pub crawls and daily sun bathing to cure the hangover, stop simply stay in Kuta, day and night. You won’t be disappointed.
Up North near Singaraja, Lovina Beach also has its own collection of pubs, restaurants, and discotheques. The environment is nice, friendly, and relaxed, certainly not as hectic as Kuta. And midnight dipping into the tropical water is also something to experience up there…
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May 23rd, 2006