#Bali Traditions

[mysticwizardglitter]

Discover Bali's Traditional Villages: A Journey Through Culture and Heritage

Bali, often referred to as the "Island of the Gods," is renowned for its stunning beaches, lush landscapes, and vibrant nightlife. However, beyond the popular tourist spots lies a world rich in tradition and culture, waiting to be explored. The traditional villages in Bali offer a unique glimpse into the island's authentic way of life, where ancient customs and rituals are still very much alive. In this article, we will take you on a journey through some of the most captivating traditional villages in Bali, highlighting their unique charm and cultural significance. Explore the hidden treasures among the various islands in Bali and immerse yourself in the timeless beauty of its villages.

Penglipuran Village: A Model of Tradition and Cleanliness

Nestled in the highlands of Bangli, Penglipuran Village is famous for its well-preserved culture and immaculate cleanliness. The village has received numerous accolades for being one of the cleanest villages in the world. Walking through Penglipuran, you'll be enchanted by the neatly arranged bamboo houses, traditional gates, and beautifully landscaped gardens. The villagers here take great pride in maintaining their environment and preserving their customs. Penglipuran offers a serene and picturesque setting, providing visitors with a tranquil escape from the hustle and bustle of modern life.

Tenganan Village: The Home of Bali Aga

Tenganan Village is one of the oldest and most traditional villages in Bali, inhabited by the Bali Aga people, the original inhabitants of the island. Located in the Karangasem Regency, Tenganan is known for its unique culture and traditions that have been preserved for centuries. One of the village's most notable practices is the weaving of double ikat fabric, known as Geringsing, which is believed to have magical properties. Visitors can witness the intricate process of creating this fabric and learn about the village's rich history and customs.

Mas Village: The Heart of Woodcarving

For those interested in Balinese art, Mas Village is a must-visit. Located just south of Ubud, Mas is renowned for its masterful woodcarvings. The village is home to numerous galleries and workshops where artisans skillfully transform blocks of wood into stunning sculptures and intricate designs. The art of woodcarving has been passed down through generations in Mas, and visitors can observe the meticulous craftsmanship that goes into each piece. Whether you're looking to purchase a unique souvenir or simply appreciate the artistry, Mas Village offers an enriching cultural experience.

Celuk Village: The Silver and Goldsmiths' Haven

Celuk Village, located in the Gianyar Regency, is the center of gold and silver jewelry making in Bali. The village is lined with workshops and galleries showcasing a wide array of intricate jewelry pieces. Visitors can watch skilled artisans at work, crafting delicate and ornate designs using traditional techniques. Celuk Village offers a unique opportunity to purchase high-quality jewelry directly from the source, making it a perfect destination for those seeking beautiful and authentic Balinese souvenirs.

Ubud's Surrounding Villages: A Cultural Hub

Ubud is often regarded as the cultural heart of Bali, and its surrounding villages are equally rich in tradition and heritage. Villages like Batubulan, famous for its stone carvings, and Batuan, known for its traditional paintings, offer visitors a chance to explore different aspects of Balinese culture. These villages host various cultural performances, including traditional dance and music, providing a deeper understanding of Bali's artistic heritage. The lush landscapes and tranquil atmosphere of Ubud's villages make them ideal for a peaceful retreat and cultural exploration.

Cultural Festivals and Ceremonies

A visit to the traditional villages in Bali is incomplete without experiencing their vibrant festivals and ceremonies. These events are integral to Balinese culture, showcasing traditional dances, music, and rituals that have been practiced for generations. Festivals like Galungan, which celebrates the victory of good over evil, and Nyepi, the day of silence, offer a unique insight into the island's spiritual life. Participating in these festivals provides a deeper connection to the Balinese way of life and a memorable cultural experience.

Conclusion

Exploring the traditional villages in Bali is a journey into the heart of the island's culture and heritage. These villages offer a stark contrast to the bustling tourist areas, providing a serene and enriching experience. Whether you're interested in art, history, or simply seeking a peaceful escape, the traditional villages in Bali have something to offer. By visiting these villages, you not only gain a deeper appreciation for Balinese culture but also contribute to the preservation of their unique traditions. So, venture off the beaten path and uncover the timeless charm of Bali's traditional villages.

[canisalbus]

WOAH can we see the skull if thats ok?? that sounds so cool (also only 20€????)

Also since it's hollow you can stick led lights in there for this sort of effect (pardon the mushy quality):

[rachaelmayo]

It took me nearly a year to finish this large piece of art, but it is indeed, at long last, finished!

This is a commissioned piece for a friend. He set only general parameters for the project: It must involve paisleys, even the scales, and I must use orange as the base color. So here we go!

My visual inspiration comes from dragons and other fantasy creatures of Thailand and Bali. I love the stylization of the dragons' faces, scale, and wings. The flowers on the upper wing are stylized hellebore, which in some flower symbology stands for sarcasm. The flowers on the shoulder design and on the tail are mandrake, for horror. (Both are quite appropriate for the commissioner!)

As is usual for my mixed-media work, there are all kinds of things that I've used and included: The dragon was done with watercolor and Prismacolor pencil over an ink drawing. There are three or four layers of varnish over the top of that, as I was trying to even out the cut-out dragon after I'd glued it down to the foamcore that keeps it about a quarter of an inch off the baseboard. The dragon also has a lot of gel pen detailing, and a gob of shiny bits.

The stones in the ovals:

Blue is lapis lazuli Pinkish-red is agate Green is malachite Yellowish is "bumblebee" jasper (a trade name) Violet is amethyst The one to the right of amethyst is hematite, but it picked up a lot of green in the scan. The red-orange by the dragon's nose is fossilized dinosaur bone. The small one by the dragon's hand is a rainbow moonstone. The dragon is holding a small fossilized ammonite.

Along the outer edges are acrylic tiles, tiger eye (tawny squares), aventurine (green squares), and assorted metal beads.

...I think that's everything!

This art is 16x20 inches, and will be matted to about 22x28. I will eventually have prints available.

[southeastasianists]

On the eve of March 11, the streets of the traditional village of Mengwi, Bali, flooded with monsters. The giant figures loomed over villagers’ heads, with grotesque smiles, protruding fangs, and extra arms and eyes. They danced in the night, each one brought to life by dozens of locals who moved as one, lifting, spinning, and shaking the monstrous creations.

The spectacle, known as the Ngrupuk parade, is one of several rituals meant to banish evil ahead of Nyepi and the Balinese New Year. While Nyepi is a day of mandatory rest and meditation for Balinese Hindus, the night before is quite the opposite.

The monstrous figures known as ogoh-ogoh—meaning to shake—represent Bhuta-Kala, evil spirits that need banishing, according to Balinese Hindu tradition. The figures, some as tall as a two-story building, are carried boisterously through town on bamboo platforms before their fiery demise.

Ngrupuk is a rather new Nyepi ceremony; ogoh-ogohs first appeared in Bali’s capital city Denpasar in the early 1980s. Since then, the annual parade has spread to surrounding villages. Local youth organizations build and carry the demonic effigies, and most crafters are teenagers and young men. Young children sometimes give creating a monster their best shot, while older master craftsmen are typically responsible for the most ornate ogoh-ogoh.

The monsters are traditionally burned at the end of the ceremony as an act of purification, but local painter and ogoh-ogoh collector I Ketut Nuada adds a few monsters each year to his growing collection-turned-museum.

Nuada once made ogoh-ogoh, but now leaves it to younger crafters and focuses instead on rounding up a few of his favorites after each parade. He collects whatever he can afford from among the effigies that survive a night of violent shaking. Over the last 12 years, Nuada has filled every inch of a warehouse in Mengwi with rescued and retired demons, some 31 in total.

“Every year there are more… and more technology,” says Nuada, speaking through a translator. The figures are traditionally made from paper, bamboo, and found materials, and brought to life through vigorous shaking. But in recent years, crafters have been experimenting with using electronics to light the monsters’ eyes, turn their heads, or raise their wings.

Anywhere from one to 10 people craft a single ogoh-ogoh between January and March. It takes dozens more to bring the demons to life. Before the event, disciples from the village temple will bless the ogoh-ogoh in a ritual where ceremonial offerings, called banten, are also presented.

Then the heavy lifting begins. Each figure is carried—along with lights and generators—by up to 40 locals on a raft-like bamboo platform. Dozens more walk ahead of the ogoh-ogoh carrying torches, or stand on the route performing traditional music. Everyone else gathers to take in the spectacle.

While many ogoh-ogoh will end their night in flames, some are stored away to be refurbished and sold for the following year, or—if they’re lucky—end up in Nuada’s collection. Photographer Matjaž Tančič captured the passionate creators, performers, and collectors who came together for Mengwi’s 2024 Ngrupuk event.

[val-of-the-north]

Barong my beloved divine beast.

Rangda is also cool as fuck.

These ancient rivals shall battle forevermore.

[birgita24]

Pantai memang selalu menjadi destinasi yang baik untuk keluarga berlibur menghabiskan waktu bersama

[aryaarkanantaresort]

🌳🏘️🪴💚

[summerglowinglight]

[milkywayrollercoaster]

Estes façanhudos com dentuças estão por todo o lado.

Aeroporto de Denpasar.

Bali/ Indonesia

foto cjmn

[indiraprayojani]

Her Blossom Crown 👸🏻🌸

[by13x]

Traditional Dances -15

Bali• Indonesia - Barong ᬩᬅᬭᬑᬂ

The Barong is a type of mythical lion

[chakapriambudi]

Indonesian traditional music instruments kromong from jakarta

Kromong I will make a high quality recording of indonesian music instruments. What Is Kromong? Kromong is part of gambang kromong ensemble, it made of alumunium steel, sounds like a bell. 1 set kromong consist of 2 octave pentatonik scale The Notations are: D4-E4-F#4-A4-B4-D5-E5-F#5-A5-B5 sample: Ondel Ondel, Betawinese traditional song The Gears Logic Pro X DAW Macbook Pro Zoom Audio…

[rachaelmayo]

This is one of my most ambitious Stone Dragons, Opal Paradigm, from 2014. There are detail shots below the text block.

The drawing underlying this piece was originally designed as a window etching. It was never used for that purpose, alas; I now had a detailed drawing that I needed to put to some other use. I decided that I would make the most complicated Stone Dragon I'd ever attempted (after all, capturing opalescent effects takes some effort!).

While I haven't managed to capture a real "opal" effect yet, I did manage to get a nice iridescence that I really liked. Add to that the bold yellows and violets of dorsal ridge and belly scales, which were deliberately simple so as to let the body scales be in the spotlight.

I also wanted to try some mixed media techniques I hadn't used before. The gold outlining got the experimental treatment - I outlined wings, belly scales, tail, and some other bits in gold acrylic goop that I squeezed out of a nozzle-tipped bottle. The effect is somewhat like the lead outlines in stained glass. It was a long process, and I really haven't used it since (more's the pity; I really should). The only problem was that there were tiny bubbles in the paint that I didn't deal with before the paint dried. OOPS. I put tiny rhinestones over those bubbles, so the wings, particularly, sparkle.

The dragon and its background were colored with Prismacolor pencils. I added a boatload of acrylic shinies, acrylic pearls, and the afore-mentioned acrylic paint. On its head is a small Ethiopian opal. There are amazonite stones on its arms. There are rhodonite stones all along its belly. There are red jaspers on its tail fins. The black background has swirly black shinies worked throughout.

Here are the detail shots to showcase some of my favorite bits!

[ozkar-krapo]

Wayan LOTRING [rec. Jacques BRUNET]

"Le Gamelan balinais de Lotring"

(2LP. CBS. 1974 / rec. 1972) [ID]

[aryaarkanantaresort]

Balinese dance ✨

[candidenigma]

Bali has the kamen (a.k.a. sarong).

Costume. Chitons.