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HINDU GODS & GODDES OF BALI

Hindu Gods and Goddesses of Bali

  • ·         These days, there are a number of commonalities between Balinese Hinduism and Indian Hinduism. For instance, in Indian Hinduism many people adore Brahman like a supreme god and in Balinese Hinduism many people adore Sanghyang Widhi Wasa like a supreme god. Sanghyang Widhi Wasa is just like Brahman, because Sanghyang Widhi Wasa is considered to include all global dualities. Additionally, Sanghyang Widhi Wasa is considered to have several avatars.
  • ·         Most of the Hindu Gods and Goddesses of Bali were traditionally merged, in Balinese Hinduism, from Indian Hinduism. But, this merger process didn't always develop as a consequence of direct talk between the Indians and Balinese. A number of Balinese Hindu beliefs and practices were merged into Balinese Hinduism due to historical links which the Balinese had with the Javanese.
  • ·         Traditionally, the Balinese seldom merged gods, into Balinese Hinduism, without changing their beliefs or the form which surrounded them. As a consequence, even though most of the Hindu Gods and Goddesses of Bali eventually descend from Indian Hinduism, these days, there are not many parallels between, for instance, Durga from Balinese Hinduism and Durga from Indian Hinduism. Durga, in Indian Hinduism, is considered to be among the female avatars from the God Shiva. The peculiar mindset of Shiva is additionally explained in the Indian Hindu faith that Shiva may take the shape of Kali or Paravati and Uma. Kali is usually portrayed, in Indian Hinduism, as a vengeful version of Shiva, a black body, a body with several hands gripping a bloody knife and the other hand holding a dismembered head, and a body which has a necklace of skulls. Dewi Durga is considered as the partner of Dewa Siwa in Balinese Hinduism. Sculptures of Dewa Durga are located at Hindu Pura Dalem sites of Bali.
  • ·         In Balinese Hinduism, Rangda is considered to be among the avatars of Dewi Durga. Rangda is similar to Kali. But, while Kali, in Indian Hinduism, symbolises an extremely gloomy as well as revengeful aspect of Shiva, in Balinese Hinduism, Rangda symbolises a n extremely gloomy and revengeful aspect of Dewi Durga. Rangda is usually portrayed, in Balinese Hinduism, like a body with ugly physical qualities, an arch foe of Bali's favourite defender(s), a cannibal, bloodthirsty, a specialist in black magic, and as the Queen of Witches, (like 6 inch lengthy nails, hairy knuckles, and sagging bosoms). Rangda is considered to be a body which the Balinese traditionally got from the Javanese.
  • ·         In Balinese Hinduism, Dewi Sri symbolises an extremely exceptional god. The reason of this is that Dewi Sri is considered to be exclusive to Bali. To put it differently, Dewi Sri is considered as a Balinese Hindu body which the Balinese traditionally didn't derived from a different tradition. Dewi Sri is the spouse of Wisnu, the nurturer and the defender of Bali's peddies, the Goddess of nourishment, and the Goddess of rice.
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Watch the sunset & Kecak Dance at Uluwatu sea temple

Watch the sunset & Kecak Dance at Uluwatu sea temple
Perched high atop a 70-metre cliff, with sweeping views of the Indian Ocean, the Uluwatu Temple is one of Bali’s best sea temples you can’t miss during your trip.


It’s one of the six key Balinese temples that help to ward off evil, but that’s not its winning point as a prime tourist destination.




Every day during sunset, crowds gather at the temple for a breathtaking view of the orange ocean reflecting the setting sun.

Along with the Tanah Lot Temple, the Uluwatu Temple is one of the best places to be at during sunset.

And at that time, don’t forget to catch the Kecak dance performance at the temple.




One of Bali’s most popular traditional dances, the spectacular Kecak dance makes use of fire and dance to present riveting stories to the audience. Sometimes, the performer is in so deep a trance that he can even kick hot charcoal without scalding his feet!

How to get there: Pura Uluwatu is located in Pecatu Village, Kuta sub-district, Bandung regency about 25km south of Kuta and it usually takes an hour’s journey. A hired driver or post-pickup is recommended as public transport is unavailable.

The perfect time to arrive at Uluwatu Temple would be at 4pm to give you ample time to get a good seat and a ticket for the Kecek Dance at RP 100,000 (USD $8.10).

The performance is held at Uluwatu Temple, with an entrance fee of RP 20,000 (USD $1.60). Sarongs will be provided for entry to the temple.
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Tirta Gangga

The cool spring pools at Tirtagangga is situated some 15 KM northwest of Amlapura, on the way to Singaraja. The spring pools which refer to sacred river of the Hindus are somewhat refreshing.

Just North of Karangasem on the slopes leading up to Mount Agunr is Tirta Gangga, a veritable water playground designed by a prince in the Royal Family of Karangasem as a resting place. The exotic pools and water fountains sustained some damage during the eruptions or Mt. Agung, but the water gardens remain as serene and tempting as ever to the travel weary.


Besides, its has wondrous view of terrace ricefields offering fresh green sights. From here, one may be challenged to walk on a number of treks through the surrounding countryside.
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SUBAK

Subak

Subak is the name of irrigation system for rice fields in Bali, Indonesia that was created in 9th century. For people of Bali, irrigation isn’t just providing water for the roots, but a complex is built using water. The system is composed of five terraced rice fields as well as water temples. The main focus of this water management system of weirs and canals is the temples.
Religious relationship

Subak is a traditional irrigation system which unites Balinese agrarian society collectively within Bale Banjar community center of the village and temples of Bali.
Priests are authorized for the water managements in water temples. Priests practice Tri Hita Karana Philosophy which is a self-described association between the gods, the earth and humans. Tri Hita Karana unites the human world, the realm of spirit and nature. The Subak system represents this philosophical belief. A cordial relationship between people and environment is promoted by water temple rituals by way of the active involvement of people with customary concepts which emphasise reliance on the life-sustaining powers of the natural world. Rice is considered as the gift of god and the system of subak is a part of temple culture.




System

Components of subak are temples of different importance and size which mark either its way through the shrine on its way down to irrigate subak land or the source of water, villages, weirs and tunnels, paddy fields linked by a system of canals, terraced paddy field and the forests which safeguard the water supply. The countryside has been shaped together during the past thousand years by Subak, the cooperative canal system that controls the water, rice and the water needed to grow rice. Water from canals and springs flows through the temples into the paddy field. Bali has roughly 1,200 water collectives. Between 50 and 400 farmers bring about the water supply from a single source of water. The property consists of 5 sites which demonstrate the unified cultural, religious and natural parts of the old subak system. The sites are most architecturally famous and the biggest regional water temple, the Royal Water temple of Pura Taman Ayun, the Subak Landscape of Catur Angga Batukaru with balconies cited in a 10th century inscription, the Subak Landscape of the Pakerisan Watershed and the Supreme Water Temple of Pura Ulun Danu Batur whose crater lake is considered as the final source of every river and spring. These sites are motivated by many different old holy traditions, including Austronesian cosmology, Vajrayana Buddhism and Samkhyā and Saivasiddhanta Hinduism.
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BARIS DANCE

Baris is a family of traditional war dances of Bali, accompanied by gamelan, in which a dancers depict the feelings of a young warrior prior to battle, glorify the manhood of the triumphant Balinese warrior, and display the sublimity of his commanding presence. Baris literally means line or file, referring to the line of soldiers who served the raja ( King ) of Bali


There are a variety of group formats for the Baris dance, including Baris Gde, Baris Keris, Baris Omang, Baris Perisi, and Baris Dadap. These dances are accompanied by different types of music and involve different movements. Dancers may carry a variety of weapons, including a kris, a spear, a bow, or other weapons; often dances are named after the weapons carried. The performances may or may not attempt to convey a story. All, however, are considered sacral, and used for religious ceremonies and events.

Among these dances is the Baris Demang, which dates back into the 19th century (a drawing of a performance was acquired by Herman Neubronner van der Tuuk while in Bali). In such a dance, dancers wear costumes similar to those worn by the demang in gambuh performances, carrying wooden knives. This dance is usually performed during the Pemayun ritual.

Other versions include Baris Panah (in which the dancers are armed with arrows), Baris Presi (in which the dancers are armed with round shields), and Baris Dadap (in which dancers are armed with elongated, oblong shields). Baris Presi is common throughout northern and southern Bali. Baris Dadap, however, was limited in range by the 1980s. Dancers are not accompanied by an orchestra, but sing songs regarding wayang during performances; it is generally performed during cremation ceremonies or temple festivals (dewayadnya).

In Baris Biasa, dancers are armed with spears. Such dances are generally brief, and involve a form of playfighting known as masesraman, in which the wooden spears are knocked against each other. Dancers (who can be either male or, when they are fulfilling priestly roles, female) do not wear special costumes; they are only garbed in normal headgear and cloth. The Baris Biasa dance is generally performed in the morning, following temple activities.
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