Kecak Dance in Bali

Kecak Dance is a typical Balinese performing arts that was created in the 1930s, played by dozens of men who sit in a circle and lined with a certain rhythm called for the word “smack” and raised both arms.
The dancers in the circle wearing a plaid cloth like a chessboard their waist.
This dance illustrates the story of Ramayana when Rama’s line of apes help fight Ravana. Kecak dance songs taken from the ritual dances sanghyang namely that the dancers dance traditions will be in unconscious condition, to communicate with God or the spirits of the ancestors and then convey its expectations to the public.
Tourists who are interested in watching Kecak can choose one of three locations the show, among other Luhur Pura Uluwatu, at the Village Batubulan, and Hanuman Road.
Kecak Dance privilege of not relying on musical instruments to accompany the dance, but a chorus of dancers. Kecak Dance is also known as the Kecak and Fire Dance. Performing this last sort of bonus that can invite click amazed the audience.

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Saraswati Ceremony in Bali

Saraswati Ceremony is the celebration of the revelation of knowledge or science (vidya). This celebration is based on calculations of Balinese Calendar, exactly on the day of Wuku Watugunung Saniscara (Saturday). celebrations are done in place of an education such as schools, libraries and other places. Celebration is done by praying together by the school community

Saraswati is the Shakti (wife) of Brahma. Saraswati is symbolized as a goddess who stands above the lotus with the swan (Hamsa) and peacock next to her. Have four hand with a sitar / Veena and ganatri on both the right hand, the left hand bring literature / books and one left hand  to play guitar.

Meanings of that symbols are:

• White skin, meaning: as a basic science (vidya) is white, clean and pure.

• Book / libraries in the left hand, meaning: All forms of knowledge and science that is a kular.

• Veena, meaning: art, music, culture and sound AUM. It is also a symbol of harmony of mind, budhi, life with the natural environment.

• Ganatri in his right hand, meaning: the spiritual science that is more meaningful than many who are secular science (left hand). But nevertheless the importance of books and teaching various sciences, but without a sincere appreciation and devotion, all these teachings will superfluous or useless.

• Goose (Hamsa), symbolizing: know where the dirt and where to eat, which is good which is bad, even in the filthy water and turbid

• Peacock, meaning: hairy lovely, beautiful and brilliant even if their habitats in the forest.

• Lotus Flowers / Lotus, meaning: can thrive and produce beautiful flowers even though his life on the dirty water .

Meaning of Saraswati Celebration

• We should be grateful to God for the gift of intelligence and science

• By vidya (knowledge), we can be free from avidya (ignorance).

• We can learn from goose  (symbol) to become a wiser person.

Is that good? But that’s what we do in Bali to respect science. Date and time of celebration can be seen on our calendar.

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Ngaben Ceremony in Bali

Ngaben, or Cremation Ceremony, is the ritual performed in Bali to send the deceased to the next life. The body of the deceased will be placed as if sleeping, and the family will continue to treat the deceased as sleeping. No tears are shed, because the deceased is only temporarily not present and will reincarnate or find his final rest in Moksha (freeing from the reincarnation and death cycle).
The proper day of the ceremony is always a matter of consulting a specialist on ceremony days. On the day of the ceremony, the body of the deceased is placed inside a coffin. This coffin is placed inside a sarcophagus resembling a buffalo (Lembu) or in a temple structure (Wadah) made of paper and wood. The buffalo or temple structure will be carried to the cremation site in a procession. The procession is not walking in a straight line. This is to confuse bad spirits and keep them away from the deceased.
The climax of Ngaben is the burning of the whole structure, together with the body of the deceased. The fire is necessary to free the spirit from the body and enable reincarnation.
Ngaben is not always immediately performed. For higher caste members it is normal to perform the ritual within 3 days. For lower caste members the deceased are buried first and later, often in a group ceremony for the whole village, cremated.

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Galungan Ceremony in Bali

Galungan is a Balinese holiday that occurs every 210 days and lasts for 10 days. Kuningan is the last day of the holiday. Galungan means "When the Dharma is winning." During this holiday the Balinese gods visit the Earth and leave on Kuningan.
Occurring once in every 210 days in the pawukon (Balinese cycle of days), Galungan marks the beginning of the most important recurring religious ceremony that is celebrated by all Balinese. During the Galungan period the deified ancestors of the family descend to their former homes. They must be suitably entertained and welcomed, and prayers and offerings must be made for them. Those families who have ancestors that have not yet been cremated, but are still buried in the village cemetery, must make offerings at the graves.

Although Galungan falls on a Wednesday, most Balinese will begin their Galungan 'holiday' the day before, where the family is seen to be busily preparing offerings and cooking for the next day. While the women of the household have been busy for days before creating beautifully woven 'banten' (offerings made from young coconut fronds), the men of our village usually wake up well before dawn to join with their neighbours to slaughter a pig unlucky enough to be chosen to help celebrate this occasion. Then the finely diced pork is mashed to a pulp with a grinding stone, and moulded onto sate sticks that have been already prepared by whittling small sticks of bamboo. Chickens may also be chosen from the collection of free-range chickens that roam around the house compound. Delicate combinations of various vegetables, herbs and spices are also prepared by the men to make up a selection of 'lawar' dishes. While much of this cooking is for use in the offerings to be made at the family temple, by mid-morning, once all the cooking is done, it is time for the first of a series of satisfying feasts from what has been prepared. While the women continue to be kept busy with the preparations of the many offerings to be made at the family temple on the day of Galungan, the men also have another job to do this day, once the cooking is finished. A long bamboo pole, or 'penjor', is made to decorate the entrance to the family compound. By late Tuesday afternoon all over Bali the visitor can see these decorative poles creating a very festive atmosphere in the street.
On Wednesday, the day of Galungan, one will find that most Balinese will try to return to their own ancestral home at some stage during the day, even if they work in another part of the island. This is a very special day for families, where offerings are made to God and to the family ancestors who have come back to rest at this time in their family temple. As well as the family temple, visits are made to the village temple with offerings as well, and to the homes of other families who may have helped the family in some way over the past six months.
The day after Galungan is a time for a holiday, visiting friends, maybe taking the opportunity to head for the mountains for a picnic. Everyone is still seen to be in their 'Sunday best' as they take to the streets to enjoy the festive spirit that Galungan brings to Bali.
The date for Galungan and other special Balinese days is shown on the Balinese Calendar. Galungan is also celebrated in the rest of Indonesia such as in the Balinese communities spread over Sumatra.

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Ogoh-ogoh on Pengerupukan Day before Nyepi Day in Bali

Pengrupukan is one day before Nyepi in Bali celebrated by the Hindus of Bali. Nyepi is a day of Saka new year celebration.
Pengrupukan is a day to perform ceremony in order to calm Bhuta (evil spirit) so as not to interfere mankind. The ceremony held on this day in all areas in Bali, called Pecaruan. While the late afternoon or early evening … young people around the region by bringing Ogoh-ogoh accompanied by gamelan tradisional music that was created about a month before.

Besides gamelan, usually accompanied by Tek-tekan (tradisional music with bamboo) had brought by the children.
Then tomorrow, Nyepi is celebrated by doing nothing, people stayed in the house implement Catur Brata Penyepian, that are amati geni (not light a fire), amati karya (not working), amati lelungan (not traveling), and amati lelanguan (no fun). The streets will look lonely without a vehicle, and no activity of the people who look. Around of Bali will no activity even the airport and television channel.

Ogoh-ogoh are statues built for the Ngrupuk parade, which takes place on the eve of Nyepi day in Bali, Indonesia. Ogoh-ogoh normally have form of mythological beings, mostly demons. As with many creative endeavours based on Balinese Hinduism, the creation of Ogoh-ogoh represents spiritual aims inspired by Hindu philosophy.
The main purpose of the making of Ogoh-ogoh is the purification of the natural environment of any spiritual pollutants emitted from the activities of living beings (especially humans). The forms of Ogoh-ogoh represent the Bhuta-Kala (Bhuta: eternal energy, Kala: eternal time), according to Hindu teachings. The imperceptible potentials of nature cannot be thoroughly explored by anyone. Philosophically, civilized men are required to manage the natural resources without any attempts to damage the environment itself.
Aside from being the symbol of Bhuta-Kala, Ogoh-ogoh is considered a symbol of modes of nature that form the malicious characters of living beings. Ogoh-ogoh is usually made by the group of artists found in villages around Bali. After being paraded on a convoy around the town, finally it is burnt to ashes in a cemetery as a symbol of self-purification.
An Ogoh-ogoh is normally standing on a pad built of timber planks and bamboos. This pad is purposed to sustain the Ogoh-ogoh itself during its being lifted and carried around the village or the town’s square. There are normally eight or more men carrying the Ogoh-ogoh on their shoulders. This procession is accompanied by music orchestra performed by the youth. The use of flares is also a main part of the parade.
During the procession, the Ogoh-ogoh is rotated counter clockwise three times. This act is done on every t-junction and roadcross of the village. Rotating the effigies during cremational parade and the eve of Nyepi represents the contact of the bodies with the spirits. It is aimed to bewilder the evil spirits so that they go away and cease harming human beings.

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Nyepi Day in Bali

Nyepi is a Balinese "Day of Silence" that is commemorated every Isakawarsa (Saka new year) according to Bali's calendar (in 2012, it will be on March 23rd). It is a day of silence, fasting, and meditation. The day following Nyepi is also celebrated as New year.

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.

Rituals

1. The Melasti Ritual is performed at the 3-4 previous day. It is dedicated to Sanghyang Widhi Wasa and is performed at the beach to respect them as the owner of The Land and Sea. The ritual performed in Pura (Balinese temple) near the sea (Pura Segara) and meant to purify Arca, Pratima, and Pralingga (sacred objects) belongs to several temples, also to acquire sacred water from the sea.
2. The Bhuta Yajna Ritual is performed in order to vanquish the negative elements and create balance with God, Mankind, and Nature. The ritual also meant to appease Batara Kala by Pecaruan offering. Devout Hindu Balinese villages usually make ogoh-ogoh, demonic statues made of bamboo and paper symbolizing negative elements or malevolent spirits. After the ogoh-ogoh have been paraded around the village, the Ngrupuk ritual takes place, which involves burning the ogoh-ogoh.
3. The Nyepi Rituals is performed with the following conditions:
   • Amati Geni: No fire/light, including no electricity
   • Amati Karya: No working
   • Amati Lelunganan: No travelling
   • Amati Lelanguan: Fasting and no revelry/self-entertainment
4. The Yoga/Brata Ritual starts at 6:00 AM (e.g. March 26, 2009) and continues to 6:00 AM the next day.
5. The Ngembak Agni/Labuh Brata Ritual is performed for all Hindus to forgive each other and to welcome the new days to come.
6. The Dharma Shanti Rituals is performed as the Nyepi Day or "Day of Silence."

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KECAK AND FIRE DANCE

The most compelling part of the temple complex, however, comes from its nightly kecak and fire dance performances.
"Kecak" is derived from an old Balinese ritual called the sanghyang - a trance dance driven by its participants' repetitive chanting. In its ancient form, the sanghyang communicated the wishes of the gods or of the ancestors.
In the 1930s, a German visitor reformatted the sanghyang into the more familiar kecak performance - doing away with the spiritualistic aspect of the dance and building it around the Hindu Ramayana epic.
No musical instruments are used in a kecak performance - instead, you find about thirty bare-chested men sitting in a circle, uttering "chak… chak… chak" rhythmically and repetitively. The total effect is trance-inducing - repetitive voices and outlandish costumes creating a trippy multimedia experience.
The performance plays out as the sun sets, and the culmination involves a giant fire display that is integral to the plot. (Visitors wearing flammable material may want to get a seat higher up in the stands.)

Rama and Sita
To help those unfamiliar with the Ramayana, synopsis sheets are handed out to audience members before the show.  
The plot goes like this: Rama, a wise prince and the legal heir of the throne of Ayodha, is exiled from the his father Dasarata's realm. He is accompanied by his beautiful wife Sita and his loyal younger brother Laksamana.
While crossing the enchanted forest of Dandaka, the demon king Rahwana spots Sita and lusts after her. Rahwana's deputy Marica transforms himself into a golden deer to distract Rama and Laksamana.
Rahwana then transforms into an old man to fool Sita into stepping away from a magic circle of protection set by Laksamana - thus fooled, Sita is spirited away to Rahwana's realm of Alengka.
Rama and Laksamana discover the deception too late; lost in the forest, they encounter the monkey king.

Hanoman, who swears his allegiance and goes off in search of Sita.
Hanoman finds Sita in Alengka. The monkey king takes Rama's ring to Sita as a token of his contact with her husband. Sita gives Hanoman her hairpin to give to Rama, along with a message that she is waiting for his rescue. 
Hanoman marvels at the beauty of Alengka, but begins to destroy it. Rahwana's giant servants capture Hanoman, and bind him to be burned. Hanoman uses his magical powers to escape from certain death. Here, the performance ends.
Despite the historical and cultural implications of the performance, the Uluwatu kecak performance is strictly for the tourists. The fiery escape of Hanoman is played up for visual effect, and the actors who play Hanoman, Rahwana, and the giants ham it up mightily. The night I watched, Hanoman went up to a bald German tourist in the front row and rubbed the man's head, to everyone's amusement. 

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BARONG DANCE BALI

Barong is probably the most well known dance. It is also another story telling dance, narrating the fight between good and evil. This dance is the classic example of Balinese way of acting out mythology, resulting in myth and history being blended into one reality.
The Barong Dance is a story about the struggle between good and evil. The good, by Barong Keket, a mythological beast with an immense coat of fur and gilded leather vestments and evil by the witch Rangda. Typically Barong enters first, cleverly danced by two men who form the front and rear, while the man in the front controls the mask. The mask itself is sacred and undergoes a blessing by the priest before the performance. Rangda enters soon after. The two characters engage in battle, at which point the Barong's keris-bearing followers rush in to attack Rangda. The hissing witch however, uses her magical powers to turn the keris knives in upon their owners, who subsequently fall into a trance and turn their knives upon themselves.

The Barong however uses magic to protect his followers from the knives although occassionally, the dancers do get hurt which to the Balinese is a sign of displeasure by the Gods and to be taken seriously.
The story goes that Rangda, the mother of Erlangga, the King of Bali in the tenth century, was condemned by Erlangga's father because she practiced black magic. After she became a widow, she summoned all the evil spirits in the jungle, the leaks and the demons, to come after Erlangga. A fight occurred, but she and her black magic troops were too strong that Erlangga had to ask for the help of Barong. Barong came with Erlangga's soldiers, and fight ensued. Rangda casted a spell that made Erlangga soldiers all wanted to kill themselves, pointing their poisoned keris into their own stomachs and chests. Barong casted a spell that turned their body resistant to the sharp keris. At the end, Barong won, and Rangda ran away.
Somebody can die or get seriously injured in a Barong dance. It is said that if Rangda's spell is too strong, a weak soldier may not be able to resist it, even with the help of Barong. He may end up hurting himself with his own keris.

The masks of Barong and Rangda are considered sacred items, and before they are brought out, a priest must be present to offer blessings by sprinkling them with holy water taken from Mount Agung, and offerrings must be presented.
At the end, the Barong triumphs and Rangda retreats to recoup her strength for the next encounter. All that is left to do is for the Pemangku, that is the priest, who sprinkles them with holy water to help the keris dancers out of their trance. The dance is lively and entertaining and not to be missed.

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