BALI'S RELIGION.
.
" The three most important features in all of Bali's history . . . were -
* the development of irrigated rice agriculture,
* the adoption of Indian religion and culture,
* the growth of tourism.
But
of
these
three
it
is
the
Hindu
religion,
in its distinctive local variant,
which
famously
(and
clearly)
defines
Bali
today."
Robert Pringle, A Short History of Bali - Indonesia's Hindu realm.
Allen & Unwin, 2004.
(my emphasis)
Whilst it might be argued that the easy life (brought about by fertile soils and very productive, irrigated rice lands) allowed time for religion and the arts to flourish in Bali, few would try to argue that religion does not define Bali today, nor that burgeoning tourism may shape the face of Bali tomorrow.
Agama Hindu.
From the outset don't let me even try to convince you that this is a learned treatise on Bali's religion, or even that I have an adequate knowledge of my own religion let alone Bali's that would give me any credibility to write such a piece.
Think of this as a 'bule's' (white faced person is perhaps the most polite interpretation I have heard) embryonic learning, picked up from several trips to that island and many conversations, some quite stilted and some even reticent, with drivers and even more casual acquaintances, and a lot of reading, not the least being Pringle's book quoted above.
If you know nothing of Bali's unique religion (It's commonly called 'Hindu' but because it's so different it's more correctly called 'Agama Hindu' or by the Indonesian Government 1* as 'Bali Hindu Dharma'.) and are a bit curious about what you will surely have easily seen in Bali every day but perhaps not recognised and almost certainly not understood on that island paradise, then this might be a simple starting point to further investigation or it might just enough to satisfy an idle curiosity.
(1* It is interesting for tourists to note that the Indonesian Government requires every citizen to profess affiliation to one of five officially sanctioned religions - Islam, Hinduism, Buddhism, Catholicism or Protestantism.)
I'm afraid that a bit of history can't be avoided within the story as it's from the island's history that the defining signatures of this unique religion have come and in the coming have themselves defined Bali. I'll try to keep it simple.
Unique?
Most certainly!
Bali's Hinduism is a unique signature, not only within Indonesia (much of which initially adopted Hinduism well before Bali' but which is now mainly Muslim) but within the other Hindu nations and enclaves of the world.
Not even in India, the birthplace of Hinduism, is the religion of Bali used or perhaps even understood.
The Beginnings.
Bali's
earliest
recognisable
religion,
long
before
the
beginning
of
written
history,
most
probably
would
have
been
a
form
of
animism
(the
worship
of
natural
features,
notably
the
streams,
the
forests, the
mountains
and
volcanoes
in
Bali) and
ancestor
worship derived from their greater social ancestry within the Malay and
Polynesian peoples who settled most, if not all, of the pacific islands
thousands of years B(efore) C(hrist). Animism was later influenced by the
beliefs of the
early
immigrant
travellers,
traders
and
settlers
from
what we now call Japan, China, Vietnam, Cambodia, and so on right around that
south east Asian coastline to (principally) India and beyond.
Remarkably
the original beliefs of both
animism
and
ancestor
worship
still feature strongly in Bali's religion.
These immigrant travellers, walking across the dry land bridges that existed through Thailand, Sumatra and Java in the great ice age of about 18,000 years ago.
(How long ago is that? Think of western Christianity's history of only 2,000 years since the birth of Christ and multiply all that has happened by 9!)
Mixed with the ancestor, animism and nature worship, of what might also have been early Australasian inhabitants too who could have arrived 40,000 years ago, this early example of fusion and selective adoption and adaptation has been a characteristic of Bali's inhabitants from that time to this.
With the arrival of sailing traders from distant shores the Balinese first learnt of various aspects of India and its civilisation and culture, particularly in the areas of art and architecture. This absorption probably came through the influence of already 'Indianised' Java rather than directly from India and Indians. Although Bali's art certainly became 'Indianised' neither of India's two great religions, Hinduism or Buddhism, had any initial influence or recognition in Bali.
[ The Indian-isation of the local cultures was not confined to Java or to Bali but was spread throughout the lands and countries known to the earliest western civilisations as 'Further India'. These included the island chain of Thailand - Sumatra and on through to Timor and perhaps even Irian Jaya- New Guinea, all of which was often known then as the 'Indian Archipelago'.
As a recognised name for the region 'the Indies' or the 'East Indies' was common in early written histories and 'Indonesia' was not used until the mid 20th century.
As a name for the whole area 'South East Asia' was not commonly used until the Second World War but when independence eventually came to the area shortly after the end of this war it was the term 'Indonesia' that was chosen as the name to unify the diverse corners of the new country, recognising for ever the early and sustained links with that influential country, India. ]
Growth Through Peace and The Early Priests.
Perhaps strangely, it was not conquest by India over Bali, or even by Java over Bali that brought religion to the fore in either country. Nor was it the influence of the stream of traders who openly practised their religion on Bali's shores. Not in Java or in Bali was the introduction of the mixed Hindu and Buddhist religions really a religious process but was, in fact, the consequence of a political process.
In
both
Java
and
later
in
Bali,
the
early
native chieftains
were
simply
local
men
with
intelligence
and
charisma
that
brought
respect
from
their
neighbours.
This
respect
gave
them
an
influence
within
their
local
area
and
this
influence
was
what
made
them
local
chieftains.
It
was
not
until
the
Indian
concept
of
'Rajah',
something
greater
than a
'chief',
became
known
to
them,
that
some
chief's
horizons
began
to
expand
beyond
their
own
little
patch.
With
this
concept
of
expansion
came
the
need
for
advisors
to
explain
how
progress and to
hasten
the
process
of
becoming
'Rajah-like';
to
reach
that
state
before
their
fractious neighbouring
chiefs
became
rajahs
first and
swallowed
them
up.
For
this
was
the
process
of
becoming
a
rajah,
expansion
of
territory,
of
influence,
of
respect
and
of
power,
at
the
expense
of
the
others
who
became
subordinated
- if
they
survived.
Like
the
Admiral's
response
to
the
British
Queen
during
the
earliest
America's
Cup
yacht
races
-
there
was
no
second
place.
This process of growth was well known in India and the process involved the use of priests, known as Brahmans, as advisors to the potential rajah and to the established rajahs once they had become accepted. It was not religious advice that the chiefs (of Java initially) sought from these Indian priests but, recognising that their priestly studies had both developed them intellectually and also sorted out the most successful men, they became a ready made and non-threatening tool to direct the chief's path to greater power and thereby to survival itself. What followed has become known as 'the summoning of the Brahmans' and this is an appropriate phrase for the Brahmans did not just come, they were invited and welcomed.
In Java first, the Indian priests brought their knowledge of how to gain power and hold it, and an appreciation of politics and of the pomp and splendour that came with success and became the signal of success. The new Chiefs-becoming-Kings in Java developed palaces and courts, and the new trappings of dress, behaviour and language were also adopted to define those with power and to separate those who without power but who were accepted onto the fringes. With these trappings of culture and status also came the adoption and adaptation of the great Indian religions by the new kings.
Arguably the pinnacle of this development was the flowering of the great Hindu Majapahit kingdom on Java. The Kingdom eventually spread it's cultural influences to Bali and to Lombok and, in curious fact, through most of the islands (thereby warranting the better known title of the Majapahit 'Empire') which are now claimed by the Indonesians as their own, before decaying in Java but leaving behind its tentacles, particularly in Bali and to a much lesser extent in western Lombok.
With
this
cultural
and
religious
Indian-isation
of
Bali
there
also
came
the
twin
benefits
of
writing
and
consequently
of
recording.
Initially
the
language of the Javanese courts
was
naturally that brought by the Indian Brahman priests, the religious language
(Sanskrit) used in northern India and the writing was in Kawi,
an
ancient
Javanese
script derived from Sanskrit.
From
these
early
records
on
stone,
lontar
palm
leaves
and
copper
plates
come
the
earliest
reasonably
reliable
records
of
Balinese
history.
Some
of
the
earliest
examples
can
still
be
seen
(and
unfortunately
handled)
in
the
museum
in
Singaraja,
the
old
Dutch
occupation
capital
on
the
north
coast
and
on
a
stone
pillar
(with
the
date
914)
still
kept
in
the
village
of Belanjong
just
off
the
main
hotel
strip
of
Sanur
in
the
south.
These
and
the
language
of
the
common
people
that
developed
from
them
are
the
basis
of
'Bahasa
Bali'
(the
language
of
Bali)
which
is
still
spoken
in
the
country
districts
but
is
being
overtaken
by
the
language
of
all
Indonesians,
'Bahasa
Indonesia',
which
is
itself
perhaps
suffering
from
the
rise
of
'Bahasa
Tourist',
mainly
English,
the
language
of
Bill
Gates
and
Microsoft and drunken Australians.
The Religious Blend.
Almost incidentally with the establishment of kingly power came the adoption of parts of different religions into the established rites of animism, again to distinguish the kings from lesser beings at least initially.
The religions were both Hinduism and Buddhism and both co-existed (and still do even in some of the most important shrines like Pura Ulun Danu on Lake Bratan) and were often combined, but neither survived the the association with the local religion intact. In the mid 1920's an earth slip in the Pakerisan River valley revealed the earliest signs of the Indianisation of Bali that can be seen and touched. Amongst the rubble at the bottom of the valley were clay stupas, small domed buildings which commonly cover religious objects at Indian temples and which can also be found at the Borobudur monument in eastern Java and at ancient temples such as the Buddhist Angkor Wat in Cambodia and others in Vietnam. With these stupas were clay impression stamps or seals used to mark soft clay (and perhaps wax) making a form of recognised signature. On these seals were incised religious mantras that also are unquestionably Buddhist.
On
Bali,
however, it
was
Hinduism,
blending
with
the
beliefs
of
the
pre-existing
animism,
that
did
the
better
of
the
two
religions in
winning
'hearts
and
minds'.
(To
coin
a
currently
popular, or
un-popular
phrase.)
In
so
doing,
however,
the
Agama
Hinduism
of
Bali
became
almost
a
foreign
religion
to
those
of
the
Indian
sub-continent
today
as
there
are
mixed
elements
of
both
of
these
great
Indian
religions
combined
still
with
elements
of
pre-existing
ancestor
worship
and
the
animism
of
the
ancients.
It
is
a
characteristic
of
the
Balinese
culture
that
little
is
rejected
simply
because
it
is
different.
Where
the
new
religions
were
deemed
to
have
facets
that
improved
on
current
practise,
those
aspects
were
adapted
into
the
existing
religion
and
this
testing
and
acceptance
of
new
ideas
continues
today
as
the
newest
religion
of
tourism
confronts
religious
practise.
Anyone
who
has
been
in
Bali
when
the
religious
day
to
celebrate
metal
occurs
will
have
been
struck
by
the
attention
to
detail
that
occurs
when
cars,
busses,
motor
bikes
and
bicycles
are
decorated
and
taken
to
the
temples
to
be
blessed.
This
practice
began
as
a
day
for
the
warrior
class
to
give
thanks
and
to
seek
continuing
protection
at
the
temple
where
their kris
(wavy
edged
daggers
and
swords)
were
blessed
by
the
priests.
From
daggers
to
taxis
-
a
change
that
could
perhaps
only
be
at
home
in
Bali.
The Tie That Binds.
Religion
gives
life
purpose
and
focus
to
the
Balinese.
For a Balinese, God is every where and in everything at all times.
When a Balinese awakes his first thoughts are for his religion, perhaps earlier for the women than the men but equally essential for both. Religion guides their day and their life from birth through to death and even into the hereafter where the rewards of a good life will be enjoyed.
The continuing merry-go-round of festivals and the rites of their religion provide a fellowship with others in the family and with the village community and even provides a cohesive force across all of the island. That such a powerful and all-pervading force can not just occur but can indeed dominate life and circumstances in such a small island is initially a surprise but perhaps the power exists because it is a small island rather than despite the size. A larger place and a bigger population might just give rise to variations and even dissent which would be at least weakening if not destructive. Religion directs the layout of the family house, the place of the house within the village and the layout of the village itself. The cycle of the 210 day Balinese calendar is a cycle of religious rites. Religion has an impact on the working life of every Balinese where the day can be interrupted by attention to religious rites of family and village ceremonies and by the need to give specific days of labour to the temples.
There
is
a
recently
revealed
story
of
the
village
near
Tirta
Empul that
kept
a
sacred
stone
wrapped
in
a
protective
white
cloth
in
the
village
temple.
At
the
full
moon
on
the
fourth
month
of
every
Balinese year
(A Balinese year is 210 days.) they
ceremonially
take
the
stone
some
distance
to
the
sacred
spring
where
it
is
bathed
in
the
holy
water.
No
one
in
the
village
knew
exactly
why
this
was
done,
only
that
it
had
always
been
so.
Comparatively
recently
a
Dutch
language
expert
deciphered
the
inscription
on
the
stone revealing
that
it commemorated
the
construction
of
the
bathing
pools
at Tirta
Empul
in
the
year
962
-
on
the
full
moon
of
the
fourth
month!
The
reason
for
the
ritual
may
have
been
long
been
forgotten
but,
without
question,
the
rite
was
known
and
maintained,
to
the
day,
for
over
a
thousand
years.
Religion also has an enormous impact on the arts of Bali. There is usually a religious theme or history to the dance performances which often occur in the temple grounds. The themes of painted art are frequently religious and based on the epic Indian Hindu stories of the Ramayana and the Mahabharata. Wood and stone carving frequently have a religious purpose and although they are not considered icons they frequently depict gods and goddesses. Wood and stone carvings are regularly blessed and decorated with a flower or a wrapping of check cloth, even significant boulders along the road (especially at intersections) and trees will receive similar attention.
A Faith of Harmony and a Guide for Life.
In the simplest of terms, which may be the best approach for a religion which is so complex, Agama Hindu is about caring and respect. Caring and respect for family and friends; for others, for the natural things around them and the man-made objects they work with every day; for ancestors and deities; for forests, fields and foods. Agama Hindu influences life from before birth to beyond death, and not only in the waking hours either. Balinese sleep with their head towards the seats of the gods in the mountains and their feet towards the lair of the demons in the sea.
Agama
Hinduism
is
also
about
balance
and
it
is
the
daily
task
of
all
Balinese
to
firstly
establish
and
then
maintain
the
balance
between
opposing
forces.
Not
just
the
forces
of
good
and
evil
although
that
might
be
the
easy
way
to
sum
up
the
whole.
The
balances
are
far
more
complex
and
more
detailed
than
that
in
Agama
Hinduism.
There
are
the
pairings
of
things
as
simple
to
the
western
mind
as
high
and
low:
of
up
and
down.
There
is
left
and
right
and
black
and
white
and
good
and
evil,
fire and water, earth and wind
encompassed
in
the
magical
beliefs
entwined
with
the
religion.
There
are
Kaja
and
Kelod,
towards
the
mountains
and
away
from
the
mountains
which
is
really
not
the
same
as
north
and
south.
But
there
is
east
and
west
and
their
importance
to
the
travels
of
the
gods
of
the
sun
and
the
moon,
two
opposites
in
themselves.
There
is
strong
and
weak;
healthy
and
ill;
clean
and
un-clean
(which
is
not
quite
the
same
as
dirty);
creation
and
destruction
-
growth
and
decay
-
life
and
death.
These pairs are seen as opposing poles of the universe, constantly struggling
against one another for dominance and so tending to create disorder and turmoil.
It is only the intervention of man, through prayer and devotion, that maintains
some form of order in this universe.
One
of
the
pair
does
not
exist
without
the
other
and
it
is the purpose of religion and prayer in Bali to maintain a stable and peaceful balance
between
the
opposing
poles,
not
the
defeat
of
one
and
the
ascendency
of
the
other
as
is
found
in
many
other
religions. That struggle for constant balance is what daily
engages
the rituals
of
the
Agama
Hindu
priests
and
every Agama
Hindu
follower.
The Religious Day.
When the Hindu religions in Java and Lombok became almost totally displaced by the more aggressive spread of Islam, the Hinduism of Bali became unique. It is a religion of daily life which blossoms at (frequent) special times.
The
day
begins
in
every
Balinese
household
with
recognition
of
the
ancestors
at
the
family
temple
always
located
in
that
part
of
the
family
compound
nearest
the
sacred
Mount
Agung,
the
seat
of
the
gods
on
earth.
From
the
house
compound
respect
is
paid
at
the
workplace,
whether
it
be
an
office,
a
rice
field,
the
taxi,
the
forest
or
the
beach,
where
an
offering
will
be
made.
In
places
like
the
Kuta
Art
markets
(which
every
tourist
to
Bali
will
surely
see)
The
little
square
offerings
will
overflow
from
the
market
shrine
on
the
corner
and
spread
across
the
adjacent
road
although
sometimes
the
offerings
placed
on
the
ground
are
to
appease
the
spirits
of
the
underworld,
the
demons (the opposite of the gods),
who
are
responsible
for
misfortune
if
they
are
ignored
or
slighted.
There
are
always
three
temples
in
each
village.
Again,
closest
to
Mount
Agung
is
the
temple
of
the
ancestors,
the
first
of
the
family
to
settle
the
area.
Here,
every
210
days
of
the
Balinese
year,
on
the
anniversary
of
the
temple's
original
consecration,
a
special
ceremony,
'Odalan',
is
held
and
attendance
is
expected
of
all
the
members
of
the
extended
families
who
first
settled
the
village.
This
is
a
ceremony
which
usually
lasts
three
days.
In
the
centre
of
the
village
is
the
working
village
temple
where
the
daily
activities
of
the
village
take
place, the local 'council' meets and the gamelan orchestra practises,
and
it is where
the
gods
who
look
after
the
village
are
honoured.
On
the
seaward
side
of
the
village,
furthest
away
from
Mount
Agung,
is
the
temple
of
the
dead,
the
cemetery
and
an
open
space
where
cremations
take
place at a proper time after the burial.
The Island of Temples or the Temple Island?
Each district also has its own temples and maintains a shrine at the most sacred temple of all, at Besakih on the slopes of Mount Agung.
Despite
the
origins
of
Balinese
Hinduism
in
India
the
temples
of
Bali
are
most
unlike
their
counterparts
in
India.
An
Indian
temple
is
a
roofed
building,
often
with
sumptuous
construction,
finish,
ornate
grounds
and
surrounds
and
finely
detailed
decor
(picture
the
craftsmanship and material qualities, durability and varieties of that Indian
tourist spectacle, the mausoleum known as the Taj Mahal).
The
Balinese
temple
is
really
an
enclosed
parcel
of
ground,
marked
out
by
a
defining
brick
or
stone
wall.
It has no roof so the gods can come down from Mount Agung whenever they are
summoned. It
owes
its
heritage
to
the
simple
piles
of
rough
stone,
the
megaliths
and
occasionally
the
more
structured
pyramids
used
by
the
animist
forebears of the Balinese.
The
wall
is
to
separate
the
profane
world
from
the
finer
significance
of
the
interior
and
it
is
space
that
exceeds
structure
in
importance.
The
buildings
within
the
enclosed
space
are
mainly
practical
in
their
functions,
places
to
store
relics
and
ritual
materials,
spaces
to
display
offerings,
space
for
the
gamelan
and
the
dancers,
spaces
to
meet,
greet
and
rest.
The
area
closest
to
the
mountains
is
the
only
part
devoted
to
structures
of
religious
significance.
Here
you
will
find
seats
for
the
gods
when
they
visit,
a
platform
for
the priest(s)
and
shrines
to
the
ancestors
and
deities. Unlike Indian temples the Balinese gods are only visitors to the
temple. The highest column in the corner closest to holy Mount Agung, the home
of the gods, will be a seat for 'the great unknowable one', Sanghyang Widi Wasa,
the supreme being who is rarely even mentioned by name. The lower columns are
seats tor the Balinese 'Trinity' of Brahma the creator, Wisnu the preserver and
Siwa the god of destruction and re-birth.
Although
every
temple
in
Bali
is
built
to
comply
with
the
same
fixed
principles
no
two
temples
are
alike
in
shape,
size
or
decoration.
These
details
are
left
to
the
decisions
of
the
Master
Sculptor
who
is
the
builder
and
who
is
guided
by
his
own
physical
stature
and
build.
For
example
once
the
size
of
the
ground
space
is
set
the
religious
artefacts
go
next
to
the
wall
that
is
closest
to
the
mountains
and
the
main
entrance
is
on
the
opposite
side
nearest
the
sea.
The
width
of
the
entrance
is
a
fixed
number
of
times
the
length
of
the
Master's
foot,
the
height
of
the
gate
a
number
of
times
his
arm
span
and
the
length
of
the
front
wall
a
certain
times
the
height
of
the
gate.
These
dimensions
are
known
to
the
Master
because
his
Master,
probably
his
father,
told
him
so,
and
he
was
told
by
his
father
and
so
on
-
it
is
as
it
has
always
been.
The
master
knows
all
of
the
designs
that
are
appropriate
to
the
temple,
the
spreading
arms
and
hands
of
Kala
above
the
gateway
to
bar
entry
to
any
insidious
demons,
he
knows
where
he
can
put
a
swastika,
ancient
magical
symbol
of
good
fortune,
where
the
birds
and
the
monkeys
and
the
deer
can
go,
and
where
he
may
be
different
as
on
one
famous
temple
on
the
north
coast
of
Bali
which
has
the
figure
of
an
early
Dutch
traveller,
on
a
bicycle which has
flowers
for
wheels,
inscribed
into
the
wall.
The
hereditary
nature
of
the
stone
carvers
art
is
made
possible,
even
essential,
by
the
nature
of
the
stone
which
disintegrates
fairly
rapidly
making
the
renewal
process
one
which
is
on-going
and
which
provides
opportunity
for
current
commentary,
like
the
bicycle
rider
mentioned,
in
the
work.
The
system
of
measurement
used
makes
each
temple
unique
in
dimensions
derived
from
the
individual
builder
but
also
ensures
an
overriding
common
proportion
from
one
temple
to
another
which
is
harmonious
and
recognisable
to
those
who
look
with
an
experienced
eye.
The Supreme Unknowable God - and Others.
Balinese Hinduism recognises one supreme god, Sang Hyang Widhi Wasa, the great unknowable one. The supreme god is only infrequently the object of a Balinese' prayers however and, in a situation not too unlike the trinity of Christianity, it is to the triumvirate of gods at the next level that offerings are directed. These three are -
* Brahma the creator god in the south who is recognised by the colour red or crimson,
* Wisnu the protector and preserver god in the north recognised by black and
* Siwa the destroyer and the god in the centre.
This trio is only the start for those who would understand Bali Hinduism. Like the branches of a tree there sprout a veritable pantheon of supporting deities. In the west is Mahadewa (yellow), in the east is Iswara (white), in the north west is Sangkara (green), north east Sambhu (blue), southeast Mahesora (pink) and south west Rudra (orange).
[ Students of ancient Chinese civilisation, culture and especially art, will perhaps see similarities in this arrangement of a circle, directions, colour and an important concept, with a system used within the Hann Dynasty (about 2 centuries before and after the birth of Christ) where the 5 essential elements - water, fire, metal, wood and earth, were depicted around a circle.
1. The earth, yellow in colour was the centre of the circle, encompassing the whole of the year, capable of absorbing water and represented by a 'ts'ung' - a circle with a smaller square in the centre.
(Does this ts'ung shape remind you of the 'lucky' Chinese coins still used in some Balinese decorative art objects and still often uncovered on beaches after a storm?)
2. Water, black in colour, is on the north of the circle, symbolises the winter season of the year, capable of putting out fire and is represented by the 'black warrior' usually shown as a snake or a tortoise.
3. Fire, red in colour on the south side of the circle, encompassing the summer season of the year, capable of melting metal and represented by a bird, the mythical phoenix which is re-born in the flames of a fire.
4. Metal, white in colour, is on the west of the circle, symbolises the autumn season of the year, capable of destroying wood and is represented by a tiger.
5. Wood, green in colour on the east side of the circle, encompassing the spring season of the year, capable of overcoming earth and represented by a dragon.
What a neat arrangement of a never ending circle that could only have been devised by the gods or the Emperor, to be seen in some way every day by even the simplest peasant and thereby prove the existence of a superior entity.
It strongly hints at Chinese influence in Balinese religious development and perhaps Indian too. ]
If
you
think
you
now
have
a
grasp
of
the
Balinese
ethereal
world
stop
and
consider
that
like
the
tree
mentioned
earlier
there
are
the
demons
in
the
roots
under
the
surface,
and
these
too,
need
to
be
appeased
with
exactly equal
devotion
and
respect
to
keep
the
universe
in
balance.
Religious Festivals.
In addition to the island-wide Odalan Festivals mentioned above which are celebrated on the particular anniversary day of each temple, in every Balinese year of 210 days there are five special 'Tumpek' days when particular parts of the culture are celebrated all over the island.
1. Tumpek Landep,
2. Tumpek Uduh,
3. Tumpek Uve,
4. Tumpek Kuningan and
5. Tumpek Wayang.
These are days when different parts of the visible world ('Niskala') are honoured. Tumpek Landep is the day when the working tools of the Balinese daily lives are honoured. It is often called the day for metal because the most obvious signs are the highly decorated cars, motor bikes, buses and even trucks parade in long lines to the local temples to be blessed by the priests. During a recent stay in Bali we were staying in Pacung on this day and the parade, with Polisi escorts and Gamelans playing took over half an hour to grind slowly up the hill through the village. Traditionally it was a day to sharpen the weapons of war and bless them and the warriors who carried these 'tools'. As warfare has given way to more peaceful times the meaning has been broadened to include any of the tools used in life and also the skills of those who use those tools.
Prayer.
It is a common for the tourist in Bali to see people in
the act of personal prayer.
Usually women and usually younger rather than older as the God's appreciate the
most beautiful things, kneeling in a corner of the family compound or at a
street or workplace shrine including the beach if you're about early in
the morning.
She may carry a tray balanced gracefully in one hand, holding several small
square trays folded from fresh green palm leaf and containing some greenery, a
flower - often a golden yellow marigold for its godly colour and perfume, some
rice - maybe the more expensive red rice in the most affluent houses, a dry
biscuit or cracker, perhaps a candy or a cigarette and a smoking stick of
incense.
These are the daily offerings to the gods and to the
demons. The incense smoke is the ladder to the gods, carrying the prayer to the
gods and carrying their blessings back.
A flower held delicately in the finger tips is used to sprinkle holy water from
a small bowl onto the offering as it is put in place. The hands are held in
prayer with the thumbs lightly touching the forehead as the prayer is silently
recited. Sometimes the flower will then be flicked away to help carry the
devotion to the gods.
The final act of the ceremony will be that graceful wave of the hand through the
incense smoke to waft it upwards, carrying the prayer and the essence of the
offering.
There is a more detailed account of the temple prayer ritual at this link. 'PRAYER'.
Comment and additional information on this subject will be welcomed.
filo @ adam dot com dot au.
SOURCES:
Bali; A Traveller's Companion. Various writers, Archipelago Press. 2001.
A Short History of Bali - Indonesia's Hindu Realm, Robert Pringle. Allen and Unwin. 2004.
Bali. Apa Photo Guides. 1977.
Various airline In-Flight Magazines.
Papineau's Guide to Jakarta. Andre Publications. 3rd Edition, 1976.
Bali 1912, Gregor Krause. Pepper Publications. 1922 - reprint 2002.
A Short History of Chinese Art - Michael Sullivan. Faber and Faber, London WC1. 1967.
Various friends and some very casual acquaintances in Bali.
USE THESE LINKS TO - - -
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- find and print off a Shoppers Cheat Sheet for Bali.
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- print a traveller's chart of the distances and travel times between various places in Bali.
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